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Manley was one of the designers of the University of Miami campus. Her commissions also included small Spanish-style houses in the 1920s, work on Miami's U.S. Post Office and Federal Building in the 1930s, the masterplan for the Coral Gables campus of the University of Miami with Robert Law Weed and its first large classroom building in the 1940s, many "tropical modern" houses, the University of Miami's Ring Theater, and the shell for the Asolo Theater at the Ringling Museum in the 1950s. She continued to work through the 1960s and early 1970s.

Luis Manrara was a Cuban scholar, political activist, and president of The Truth About Cuba Committee, Inc., a non-profit organization established by Cuban exiles in Miami in 1961 for the purpose of disseminating information about communist Cuba and its role in promoting communism throughout Latin America.

Dr. Lillian Manzor (b.1956) is the founding member, developer, and editor of the Cuban Theater Digital Archive, a bilingual cultural heritage site that provides inter-related information on writers, directors, texts, productions, festivals, venues and theater companies and digitized photographs, theater programs, and other resources, including video excerpts of theater productions. She is also a scholar, writer, and educator, currently an Associate Professor of Modern Languages and Literatures at the University of Miami College of Arts and Sciences, and curator of Cuban Culture on the Edge.

Dr. Manzor earned her Bachelor of Arts in Spanish and French from the University of Miami in Coral Gables, Florida in 1977. She then earned an M.A. in 1982 and Ph.D. in 1988 in Spanish from the University of Southern California. She worked as a Visiting Instructor of Spanish from 1983 to 1985 at the University of Notre Dame and from 1985 to 1988 at The University of Notre Dame. In 1988, she became an Assistant Professor of Comparative Literature at the University of California, Irvine before coming to the University of Miami in 1995. At the University of Miami in addition to being Professor, she has acted as Director of Graduate Studies, Director of Undergraduate Studies, Department Chair, and Director of Degree Programs in Modern Languages. She has also led numerous study abroad courses to Cuba, Chile, Spain, Panamá, Haiti, the Dominican Republic, and Guatemala.

She has a manuscript in the works called Marginality Beyond Return: US-Cuban Performances and Politics, which is about Cuban theater in the US. Her published works include: El Ciervo Encantado: An Altar in the Mangroves. With Jaime Gómez Triana. New York: Hemispheric Institute for Performance and Politics Tome Press, 2015; Teatro venezolano del siglo XX. Edited with Alberto Sarraín. La Habana: Editorial Alarcos, Colección Clásicos del Siglo XX, 2008; Teatro cubano actual: Dramaturgia escrita en Estados Unidos. Edited with Alberto Sarraín. La Habana: Ediciones Alarcos, 2005; Latinas on Stage. Edited with Alicia Arrizón, Berkeley: Third Woman Press, 2000, (the first book on Latina performance artists); and finally, Borges/Escher, Cobra/CoBrA: Un encuentro postmoderno. Madrid: Editorial Pliegos, 1996. She has also published dozens of peer-reviewed research articles in journals such as The Drama Review, Gestos, Ollantay Theater Magazine, Tablas, and Conjunto, book chapters, book reviews, and newspaper articles about U.S.-Cuba relations, collaboration, and travel. She has curated the exhibits “A Theatrical Thunderbolt. Cuban Playwright Virgilio Piñera in his Centenary” for the University of Miami Richter Library Cuban Heritage Collection, which ran August – December 2012, and “Protagonistas de los 60 en el teatro cubano” at University of Miami Richter Library Cuban Heritage Collection, which ran from March – August 2010. She published a bilingual online exhibit Cuban Theater in Miami: 1960-1980 (with Beatriz Rizk.) In 2013, this exhibit won an honorable mention in the Katharine Kyes Leab and Daniel J. Leab American Book Prices Current Exhibition Awards in the electronic exhibition category of Rare Books and Manuscripts Section of the Association of College and Research Libraries (ACRL).

Dr. Manzor also works on incorporating GIS in digital humanities projects. She has a research project on performing arts spaces in Spanish in Miami called "Sites that Speak" created using the Scalar platform (http://scalar.usc.edu/hc/sites-that-speak/index) learned during the 2012 NEH Summer Institute for Advanced Topics in Digital Humanities on Digital Cultural Mapping.

Dr. Manzor has directed and edited the filmed documentation of over a hundred theatrical performances in major cities in Cuba as well as New York and Miami. She has worked as a dramatist, literary and cultural advisor on productions such as Cartas de amor a Stalin, Contigo, pan y cebolla, Huevos, Anna in the Tropics, Sonia se fue, and Gentefrikation.

She has acted as organizer and curator for countless symposiums, colloquium, and conferences, and given invited talks about her research and work. She has won grants from the Andrew W. Mellon Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, the Rockefeller Foundation, the Cuban Artist Fund, and Puentes Cubanos to support her research and work.

Her current research is in performance studies and digital humanities, which originated from her work on theater and performance from a literary perspective. She works with many theater companies in Miami and in Cuba and is actively involved in developing US-Cuba cultural dialogues through theater and performance. To this end, in 2004, Dr. Manzor launched the Cuban Theater Digital Archive with support of UML and collaboration Cuban National Council for Performing Arts. At this time, the Archive is the only place in the world collecting written texts and live performances by both communities in Cuba and in the U.S. Manzor says that, “Theater offers the chance for experiences that are completely foreign to us to sink in and take root, and with each live performance the audience forms an ephemeral community for a few hours. Theater’s potential to help us understand new perspectives is at the heart of my work on theater and on Cuba. I see theater as a tool for reconciliation.” (2017)

She notes that, “Fractures create unique challenges for scholarship due to separation between the on island and diaspora communities and the politics that get in the way.” Her work is therefore to “study how theater and digital culture and creativity can help in the reconciliation of exile Cuban communities with their counterparts on the island.” An example that Dr. Manzor gives of this kind of connection was the 2001 Miami Monologue Festival. She says that, “Reconciliation happens at the human level, recognizing pain and building trust. To face the past. Theater is a catalyst for reconciliation.” (2017)

Jorge Mañach (1898-1961) was a Cuban lawyer, philosopher and writer. Mañach graduated from Harvard University in 1920 with a degree in philosophy and continued his studies in France and Cuba. While in exile during the 1930s, Mañach taught at Columbia University in New York City, until returning to Cuba in 1939. Upon his return to Cuba, he continued his teaching career at University of Havana, and was also creator and contributor to Universidad del Aire, a radio instruction program.

Mañach participated in revolutionary activities against the Fulgencio Batista government in the 1930s and was exiled at various points of his adult life to Spain and the United States for political reasons. In 1960, he was forced into exile to Puerto Rico because of his dissent of the government of Fidel Castro. He died in Puerto Rico in 1961. He was married to Margot Baños and had one son, Dr. Jorge Mañach-Baños.

Jan Mapou (Jean-Marie Denis) is a Haitian author, playwright, director, and arts advocate. He was one of the founders of the Haitian Creole Movement, which began in Haiti in 1965. That same year he also created Sosyete Koukouy (The Fireflies Society), a multi-disciplinary arts company dedicated to preserving Haitian cultural traditions and rituals. In 1969, Mapou was arrested by the Duvalier government for his activities promoting Haitian Kreyol. He immigrated to New York in 1972, before settling in Miami in 1984. He helped found chapters of Sosyete Koukouy in both New York and Miami, and serves as the Society's artistic director. Mapou's writing legacy includes 2 poetry books,1 short story, and 8 plays. He has also directed more than 15 plays in Haiti, New York,and Miami. He owns Libreri Mapou (Mapou Bookstore) in Little Haiti, which has one of the largest inventories of titles on Haitian culture and history in the nation. He also hosts two radio programs on education and culture on WLRN Public Radio and has served on numerous boards, including the Miami Book Fair International. Finally, he is the co-founder of the Haitian Arts Alliance . In 2007, he was the recipient of the Folk Life Award from he State of Florida.