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A collection of negatives, photographs, color transparencies, audio-visual materials taken by Pyramid of University of Miami buildings and events.

The collection contains a document titled "The O'Fallon Story," describing the history of the O'Fallon family in Santiago de Cuba from 1915 through the death of Esther O'Fallon in Los Angeles, California, in 1993. The collection also contains photographs, documents, and family ephemera, as well as a metal box that was used to collect money for the Cuban War of Independence in New York.

The Henry Fillmore collection includes the following items: papers, photos, memorabilia, publications, and plaques documenting the career of American musician, Henry Fillmore (1881-1956).

The Jill Flanders-Crosby papers contain photographs, cassettes, DV tapes, and DVDs related to Flanders-Crosby's fieldwork related to Afro-Cuban religious dance practices.

The Carlota Caulfield papers consist of personal and professional correspondence, literary materials including typescripts, manuscripts, poetry, video cassettes, DVDs, cassette tapes, and floppy discs, and various ephemera like clippings, pamphlets, flyers, postcards, photographs, and publications that document Caulfield's career as a poet, scholar, and cultural figure.

George Abbott (June 25, 1887 – January 31, 1995) was a famous and well-renowned playwright, producer, and director who worked out of New York City for most of his life until he retired and passed away in Miami Beach, Florida. Over the course of his career on Broadway, he received many awards and accolades for his work, including several Tony Awards, the Pulitzer Prize for Drama (1960), and the Drama Desk Award for Outstanding Director (1983). To celebrate his vast contributions to the world of theater, George Abbott also had both a theater building, which was unfortunately demolished in 1970, and a street in New York Times Square, George Abbott Way, named after him.

His papers feature photographs, playscripts, playbills, financial documents, official records, music sheets, and other materials associated with his life and work on Broadway.

The Senour Family collection contains photographs and postcards from Havana, Cuba.

Photographs, posters, books, and other archival materials that belonged to James William Hipp (1934-), Dean of the Frost School of Music.

The collection contains slides, pre- and post-revolution photographs of Havana, correspondence, and tourism ephemera, such as a golf score card and postcards, collected by the family of John Olson while living in Cuba from 1952 to 1960. Mr. Olson's father worked for the Royal Bank of Canada in Cuba during this time.

A collection of 47 black and white prints (17 x 11 in.) of Alberto Sisso's photography. Notable prints include scenes around Venezuela, and prints from the following photo projects, "Metamorphosis," "Being There," and "Nuevos Espacios." Descriptions by Alberto Sisso for each photo project represented in this collection can be found below:

"Metamorphosis"

"The pictures on this series depict a group of artists getting ready for a play about the legacy of Florence Foster Jenkins. Ms. Jenkins was many things, but overall, she represents the freedom to be who you are. Although, she was the recipient of some of the silliest music criticism of all time; she became an icon for standing your ground regardless of what others might think.

These images take this message a step further by challenging traditional gender roles and emphasizing the universal themes of Jenkins' story. By casting men in the role of Jenkins, the images showcase the power of individual expression and the freedom to be oneself, regardless of gender identity or societal expectations. Men dressing as women in Latin America in the 1970s was not visible or accepted. These scenes were linked to an underground movement that supported the LGBTQ+ communities, and that often met with stigma and discrimination.

In Metamorphosis, I thrived to expose the deep melancholy of the moment, as well as the enduring love for the magnificent theatrical gesture. I looked for images that capture the bond between the artist and the person's essence. The looser frame allowed me to create compositions that transcended the image from its ordinary status into something unique. With each take I was hoping to deliver a particular emotion, kind of a blend of something classic with an everlasting experience. A way in which we can all see ourselves echoed in, not as a cliché nostalgic approach, but more in a reflective manner.

Depicted in these photographs are:

• Manuel Carvajal: stylist and make-up artist.
• Isabel Palacios: well-known mezzosoprano and director of several choruses.
• Francisco “Pancho” Salazar: director, musician.
• Alfredo Silva: poet.
• Jose “Cheo” Vaisman: pianist, director of Teatro Teresa Carreño."

"Nuevos Espacios"

"In the 1980s, the art scene in Caracas was booming, and the Contemporary Art Museum was at the forefront of the movement. Led by her director, Sofia Imber, the museum embarked on a much-needed expansion project, named Los Nuevos Espacios, which would go on to become an iconic institution in the city.

Imber was a trailblazer in the art world of Venezuela, and her dedication to promoting and supporting Venezuelan artists was evident throughout her career. Under her leadership, the Contemporary Art Museum became a hub for the country's avant-garde art scene, showcasing the works of both established and up-and-coming artists.

I had the privilege to document the night of the inauguration of Los Nuevos Espacios. It was a momentous occasion, and one that would go down in history. The walls of the museum were filled with the work of some of the most prominent artists of the time, including Alejandro Otero, Jesús Soto, and Carlos Cruz-Diez; and its corridors where packed with the best of the Venezuelan society. Representatives from the artistic milieu, politicians, entrepreneurs, and mainly art supporters and art lovers were present to bear witness of the making of the country’s modern history (the captions on each image list the names of some of the personalities in attendance).

Imber, beaming with pride, took the podium to give a speech, expressing her gratitude to everyone who had made the project a reality. For her, the expansion of the museum was more than just a physical transformation. It was a symbol of the evolution of Venezuelan society and the country's commitment to promoting and celebrating its cultural heritage. The museum was a testament to Imber's lifelong dedication to the arts and her unwavering belief in the power of creativity to transform communities. Imber's legacy continues to inspire and influence the arts in Venezuela, it lives on through the museum and the countless artists whose careers she helped launch. Sofía Imber was a visionary and true champion of the arts.

This series stand tall as a testament of the cultural memory of Venezuela, reminding future generations of the impact that Nuevos Espacios and Imber had on the art world."

"Being There"

"Jerzy Kosiński was a Polish-American writer who was known for his novels, including "Being There" and "The Painted Bird." In the 1980s, he was invited to Venezuela by the Diego Cisneros organization to participate in a cultural exchange program. As part of this program, Kosiński visited the Museo de Arte Contemporáneo in Caracas, which is one of the most important museums of contemporary art in Latin America, a must see stop and a city pride for all Venezuelans.

Kosiński's visit to Venezuela was part of a larger effort by the Diego Cisneros organization to promote cultural exchange between Venezuela and the United States. His visit to the Museo de Arte Contemporáneo was a significant cultural event, and it helped to strengthen the ties between the two countries in the realm of the arts. This series documents that visit."

This collection contains one photo and two booklets discussing and celebrating new additions to the University of Miami library.

This collection contains materials donated by members of the University of Miami Black Alumni Society. Contained within are photographs, event announcements, calendars, certificates, memorabilia, programs, plaques, and publications.

This collection contains memos, correspondence, application materials, scrapbooks, historical information, certificates, scholarships, invitations, and photographs documenting the history of the Delta Theta Mu University of Miami Chapter.

The papers document personal and professional activities of Adria Catalá Casey, "Cuban Shirley Temple,"  who was also a dancer in Grupo Folklórico.  Grupo Folklórico was established by Ministry of Education of the Republic of Cuba in 1951 with the mandate to represent Cuba in official international events, including festivals.  In April of 1954, the group represented Cuba in the National Folk Festival founded by the National Association of the Folkloric Festivals of the United States and the newspaper St. Louis Globe-Democrat.  There are clippings and photographs in the papers that document Adria Catalá Casey's participation in this festival. The materials include three scrapbooks containing clippings, photographs, invitations, programs, two issues of Bohemia, correspondence, etc. regarding Adria Catalá, clippings and photographs of Grupo Folklórico from 1954, photographs of artists of the radio station CMQ, edited by Radio Emisora CMQ on June 5, 1938.

The papers document activities of José Morell Romero.  They illustrate his entry into the fight against Machado as one of the leaders of the Directorio Estudiantil Universitario of 1930, his service as general counsel to the University of Havana and his service in the Grau administration as president of the Retiro Azucarero.  The materials also document Morell Romero's service in the Prío administration as president of the Retiro, administrator of the railroads, administrator of the bus lines and Secretary of Labor, as well as his service as a justice of the Cuban Supreme Court during the period 1950-1960.  Finally, the documents depict Morell Romero's  service as  a leader or member of various exile groups seeking to achieve the liberation of Cuba from 1960s until his death, and his service as provisional president of Cuba in exile under the 1940 Constitution.  The papers contribute to the documentation of the efforts of the Cuban exile community to regain the homeland.  Of particular interest in this regard are those documents that detail efforts that took place in the early 1960s and are being made available to the public perhaps for the first time. One can discern from these documents that the exiles were closer than most may have imagined to securing a post-Bay of Pigs action against the Communist regime.

The materials include documents, photographs, correspondence, meetings minutes, anti-Castro articles, notes, essays and course outlines.  From the Cuba period, the papers contain documents and newspaper clippings that were brought by José Morell Romero from Cuba.  Included in this group is his "Algunos Votos Particulares," a monograph of his dissenting votes during the Batista administration, as well as, dissenting opinions and newspaper clippings from the time period right before and immediately after his resignation from the Cuban Supreme Court in November of 1960.  These documents reflect the deterioration and ultimate destruction of an independent judiciary.

The Tom Pohrt photograph collection includes photographs from Cuba in the 19th and 20th century collected by Mr. Pohrt: albumen prints, including a group of images from an album dating from 1859 through the early 1860s of the lighthouses of Cuba and attributed to the studio of C.D. Fredricks; daguerreotype, ambrotype, carte de visite, and cabinet card portraits, the earliest dating from about 1845; stereographs taken by George Barnard around 1863; over 200 glass stereographs from the late 1890s to the 1920s; and 35 color slides from the 1940s.  Barnard’s images include several prints that are among the earliest known photographs documenting slavery in 19th-century Cuba.