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The University of Miami Women’s Commission records document the social activities of the University of Miami Women’s Commission and include audio-visual materials, awards, event programs and flyers, publications, and photographs. It also contains reports and documents chronicling the history and development of the organization.

The Kevin Arrow Miami, Music, Art, and Culture collection contains zines, periodicals, ephemera, flyers, photographs, art work, posters, audio-visual material (CDs, CD-ROMs, and vinyl records), and other related archival materials.

The collection contains a data set of tweets collected from the Twitter microblogging and social networking service regarding the June 2019 changes to travel policy toward Cuba imposed by the Trump administration.

From June 4 to 13, 2019, the Cuban Heritage Collection collected tweets relating to the following hashtags and phrases: Cuba cruises, Cuba travel ban, Cuba travel restrictions, Cuba sanctions, Cuba policy, #SomosContinuidad, #CubavsHelmsBurton, #HelmsBurton, and #SomosCuba.

The tweets collected by the Cuban Heritage Collection for this data archive do not represent an exhaustive or complete record of all tweets relating to the targeted hashtags due to restritions on tweet volume accessed via the Twitter API.

The Andreyaa Hora artist sketchbooks collection consists of Hora's complete works in sketchbooks from the period 2008 to 2019.

Collection description, provided by Martin Tsang, Curator of Latin American Collections:

The fifteen sketchbooks that represent a significant portion of the artist’s work, to date, include an incredible variety of media - drawings, prints, quotes, gathered materials such as clippings and test pieces. The themes present in the pages of the books refer to and draw upon numerous Afro-Atlantic traditions, including Haitian Vodou, Brazilian Candomblé, Cuban Lucumí, as well as Yoruba, Fon, and Kongo ethnic and spiritual African sources. There is inspiration, for example, from specific orishas such as Oyá, the transformative goddess of the Harmattan winds, the marketplace, and owner of the cemetery gates, as well as more elusive traditions including Santa Muerte. In Andreyaa Hora's sketchbooks, Caribbean and Latinx artists are present and referenced as wellsprings of inspiration, as are European, Asian, and Indigenous connections. The sheer variety of media shows how the artist works out her ideas on paper and devises approaches to best convey matters of the spirit, the mind, and the body. The sketchbooks offer a tantalizing and inspirational glimpse into the creative processes of making the abstract concrete and beautifully demonstrate and bring to life the many deities who travel between and beyond Africa, the Americas, and the entire world. The books reflect a deep spiritual connection to the divine as captured by the hand and heart of someone who is careful and concerned with safeguarding ritual knowledge while utilizing a wealth of techniques that help bring art to life.

Artist's statement:

"My interest in art began early for me. From the age of eleven, I began taking art lessons in school in my hometown of Ilheus, in the state of Bahia, Brazil. My father, an architect, was a tremendous influence on my style and his work blueprints helped me understand and define spaces through lines, shapes, and forms. Through watching my father work and under his tutelage, I gained an appreciation of geometry and scale and working on paper to create pieces that could be developed into larger pieces, and also the importance of playing with materials and experimenting with forms. This early start in and out of school led me to further my abilities by taking private lessons with local artists that helped challenge my abilities and ways of seeing. Ultimately, these artists fostered inside me an abiding fascination with art that continues to this day.

I continued my studies at the University of La Rochelle, France and continued my practice under the guidance of local artists engaging with painters across the Niort region. In 2008 I became deeply interested in printmaking, inspired by the work of David Jones and Eric Gil whose work I saw in Wales in the UK. This period was a pivotal moment for me as this medium became my anchor in my mode of artistic expression. From this time, I also explored and embraced digital media and developing artistic technologies to further my methods. Viewing the work of James Jean was my inspiration to venture and experiment in new realms.

It was while studying and working on art in Europe that I began to appreciate the history and migrations that created the Lusophone Atlantic movements over the centuries. Through my art I started to explore and express facets of my Brazilian culture and my work is heavily inspired by deities of the African descent actively worshiped in Brazil and many countries of the Americas through the project of Trans-Atlantic slavery. The orishas - the pantheon of gods and goddesses are greatly present in my art and I explore ideas of contact and strategy of religious expression with references to deities in other African derived religions, indigenous beliefs, and the inclusion or transformation of European deities and philosophies by practitioners. I am particularly interested in exploring ideas, effects, and the presence of LGBTQ practitioners and how these are reflected in images of the divine in these Afro-Atlantic religions. I became fascinated by cordel - woodcut printed literature production of artists who I worked with in northeast Brazil. As an orisha priest and practitioner, I have devoted a considerable amount of my artistic output to creating works that reflect these deities in different methods drawn from these methodologies and my work is often commissioned by practitioners and my art now represents a movement of signifying worship in private and public ways.

I use a variety of printmaking techniques. I use manual techniques such as woodcut and linoleum which give my art a homely, rustic feel reminiscent of the art of Northeast Brazil which is close to my roots. I also use digital painting techniques that are rich in texture and colours. Whichever method I use, I start by sketching out my ideas in my notebooks which record my thought processes and studies much in the same way as a filmmaker would create a storyboard. From the outset, sketchbooks are key to my art process as they are a place to gather information: quotes, photos taken from a variety of places, works from the myriad of artists who inspire me, old and new. My sketchbooks have been shared with very few people as I am a perfectionist I would rather show a finished piece. My books represent the unfinished and undone, even messy work that includes my sketches and some are uncomfortable or dark visual thoughts, things that I feel I need to have an outlet for however I know will probably not make it into my exhibited works.

I create art because it is an intrinsic part of who I am and what I do. I couldn’t put into words what compels me to do it – I cannot imagine doing anything else. I take inspiration from folklore, music and the world around me and the world inside of me with all its contradictions, queerness, and search for the divine."

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.

The James Merrick Smith and Hal F. B. Birchfield collection contains images, letters, news articles, DVDs and a CDs highlighting the stellar lives, careers and involvement of James Merrick Smith and Hal Birchfield in their personal, professional and civic activities.

With his vision of design becoming much more than the up-market selling of merchandise, James Merrick Smith set about the machinery of change that would make interior design a legitimate and accredited profession.   This progression would require the development of education, testing, administration and implementation and then onward to governmental accreditation. James Merrick Smith was the person that not only had the vision but the guts and the charisma and good fortune to find others to help fulfill this dream of professionalization of the field of interior design. Life partner Hal Birchfield would also be a part of this much involved process. And among other facets of their lives was the matter of the highly respected professional work the office of James Merrick Smith and Hal Birchfield achieved, setting high professional standards for interior design excellence.

This collection was developed during the 2018-2019 academic school year as part of a project by University of Miami Library Research Scholar and then senior, David Lanster, who was carrying out research on yeast genetics and metabolism for UM's Department of Biochemistry & Molecular Biology. His goal was to contribute to studies on the cultural and social impact of food history in South Florida by examining food through the lens of various local craft breweries in Miami, which have been perfecting their own craft beer recipes for years. His collection contains advertisements, posters, flyers, beer caps, bottle openers, bottles, glasses, beer taps, and other ephemera and clothing items related to Miami's local craft brewery scene.

The collection contains a data set of tweets collected from the Twitter microblogging and social networking service regarding the May 2019 LGBTQ Pride march in Havana, Cuba, known as "conga."

From May 15 to 22, 2019, the Cuban Heritage Collection collected tweets relating to the following phrases and hashtags: conga, conga against homophobia, conga contra la homofobia, IDAHOT, LGBTIQ, marcha alternativa, Cenesex, Cuba and LGBT, la marcha va, Cuba and transfobia, and Cuba and homofobia.

The tweets collected by the Cuban Heritage Collection for this data archive do not represent an exhaustive or complete record of all tweets relating to the targeted hashtags due to restritions on tweet volume accessed via the Twitter API.

The Alma Flor Ada papers contain correspondence, photographs, negatives, manuscripts, typescripts, as well as some of Ada's teaching materials.

Born in Ituiuitaba, Brazil, Gazy Andraus is a comics researcher and author. He studied Visual Arts at the Art Institute of the Federal University of Goiás (1986-1987) and graduated from the Faculty of Plastic Arts of the Armando Álvares Penteado Foundation in São Paulo in 1992. He then became a Master of Visual Arts from the Institute of Arts of UNESP in São Paulo in 1999, and a Doctor in Communication Sciences. His collection includes Brazilian zines he created and collected over his lifetime.

The collection contains a data set of tweets collected from the Twitter microblogging and social networking service regarding the September 24, 2018 address of Cuban president Miguel Díaz-Canel during the Nelson Mandela Peace Summit at the United Nations.

The Cuban Heritage Collection collected tweets relating to the hashtags #PeaceSummitCuba, #PeaceSummit, #CubaenlaONU, #DiazCanel, and #CubaUS between September 25, 2018 and October 2, 2018.

The tweets collected by the Cuban Heritage Collection for this data archive do not represent an exhaustive or complete record of all tweets relating to the targeted hashtags due to restritions on tweet volume accessed via the Twitter API.

The Aldemaro Romero Archive is comprised of the artistic and intellectual production of the Venezuelan composer from 1945 to his death in 2007. His collection is divided in two sections: concert and popular music. Aldemaro Romero's concert collection is made of one hundred original manuscripts and copies of scores with works for symphonic orchestra, chorus and orchestra, solo concerts for wind and string instruments with orchestra, and chamber music. The popular music collection contains 126 songs and 31 instrumental works (vol. 1 and vol. 20), manuscripts and copies of the lead sheets and/or lyrics and recordings.

The collection contains digital photography created by Carl Moore on various trips to Cuba, including contemporary Cuban street scenes and portraits of dancers. Many of the photographs feature dancers from Compañía Codanza in Holguín. Other topics photographed include agriculture, nature and country life; baseball and sports; street vendors and the sugar industry; and transportation. Moore traveled throughout the island and photographed in the following cities and towns:
• Baracoa
• Bayamo
• Boca de Yumurí
• Camagüey
• Cienfuegos
• Gibara
• Guantánamo
• Guardalavaca
• Havana
• Holguín
• Isla de Juventud
• Las Tunas
• Manzanillo
• Matanzas and Varadero
• Moa
• Niquero
• Pinar del Río
• Remedios
• Río Cauto
• Santa Clara
• Santa Lucía
• Santiago
• Santo Domingo
• Sierra Maestra
• Trinidad
• Viñales

From 1926 to 1991, Eastern Airlines had endured as one of the major and more well known airlines in the Americas. This collection captures important fragments of its long history and its influence on the airline industry through the eyes of its former employees and passengers. The materials contained within include: ephemera, 3D objects, uniforms, manuals, administrative files, photographs, albums, and other types of documents pertaining to Eastern Airlines.

Almost all items contained in this collection have been generously donated to the University of Miami by individuals donating on behalf of the Eastern Airlines Retiree Association [EARA], or former employees who have contributed to the collection on an individual basis.

The collection contains a dataset of tweets collected from the Twitter microblogging and social networking service regarding the June 16, 2017 announcement of changes in U.S. foreign policy toward Cuba by the Trump administration.

The Cuban Heritage Collection collected tweets relating to the hashtags #CubanUS, #Cuba, #Trump, #CubaTrump, and #CubaEsNuestra between June 19, 2017 and July 5, 2017.

The tweets collected by the Cuban Heritage Collection for this data archive do not represent an exhaustive or complete record of all tweets relating to the targeted hashtags due to restritions on tweet volume accessed via the Twitter API.

This collection largely contains materials and personal items from noted Eastern Airlines pilot, Arthur W. Dunlop, and his family members, Patricia H. Dunlop and Lorraine F. Dunlop. Contained within are Eastern Airlines documents, photographs, manuals, flight records, flight instruments; ephemera, VHS, vinyl records, pilot's wives' yearbooks, and news clippings; University of Miami pins, tags, ephemera, and Bachelor's certificate; family photographs, photograph albums, and drawings.

The Congress for the New Urbanism (CNU) Records Collection includes annual conference programs, promotional materials, attendance lists, correspondence, audio visual recordings, research project materials, publications, award submission packets, award programs, and administrative files relating to the CNU’s annual congress meeting, annual Charter Awards, board meetings, research projects, and CNU publications. The records cover the organization's activities between 1991 and 2017.

The UM LGBTQ History Collection contains materials that document the activities of the university's LGBTQ student groups as well as the university's programs for LGBTQ students, such as the organizational records of the LGBTQ Student Center, newsletters, correspondence, press clippings, and audio-visual materials.

Fonkoze consists of a family of three organizations: Fonkoze Financial Services (Sèvis Finansye Fonkoze (SFF), S.A.), Fonkoze Foundation (Fondasyon Kole Zepòl), and Fonkoze USA, all of which are dedicated to providing financial assistance and other kinds of support to the Haitian community in Haiti and in the United States. The records contain an overview of their organizations' goals and initiatives over the past two decades, including documents, newsletters, periodicals, clippings, reports, photographs, and audio-visual materials.