PUERTO
RICAN
POSTER DESIGN FROM THEN
’TIL NOW
BEATRIZ M. FERNÁNDEZ 1
2
3
Copyright © 2012 by Beatriz M. Fernández All rights reserved. Published in the United States. First Edition The text of the book was written by Beatriz M. Fernández Images courtsey of Biblioteca Digital Puertorriqueña Printed and bound by Sir Speedy Printing Designed by Beatriz M. Fernandez
4
PUERTO RICAN POSTER DESIGN FROM THEN ’TIL NOW BEATRIZ M. FERNÁNDEZ
1940
1945
Under the US Nationality Act, all people born in Puerto Rico after that year are considered US citizens and, therefore, their US citizenship is protected under the 14th Amendment of the US Constitution.
1947 On August 5th, United States Congress passed the Elective Governors Act, allowing Puerto Ricans to elect their own governor, President Harry Truman signed the act.
Puerto Ricans began to emigrate to United States, looking for job and better economic situation.
2
1948
1950
1952
On July 4, President Harry S. Truman signed what is known as Public Act 600, which allowed Puerto Ricans to draft their own constitution establishing the Commonwealth of Puerto Rico.
Luis MuĂąoz Marin campaigned for economic reforms and structural changes in the political relationship between the U.S. and islanders.
1955
1957
On June 21, the Institute of Puerto Rican Culture is founded.
On March 3, the flag of the Commonwealth of Puerto Rico is officially adopted - based on a flag designed by a group of patriots in the year 1895.
On April 22, the first Pablo Casals Music Festival took place in University of Puerto Rico Theater, RĂo Piedras.
1960
1965
On November 8, Muñoz Marín is re-elected to his fourth 4-year term with 58.2% of the vote.
1968
1970
Estadistas Unidos organized the Partido Nuevo Progresista (New Progressive Party) under Luis A. Ferré’s leadership. The party campaigns for Puerto Rico to become the fifty-first state in the Union.
Pedro Albizu Campos leader of the Nationalist Party dies.
1972
The Puerto Rican Socialist Party is founded.
On May 18, El Nuevo Día newspaper is founded.
1980
1985
1990
On February 18, the Puerto Rico International Airport was renamed Luis Muñoz Marín International Airport.
On April 30, Muñoz Marín founder of the Popular Democratic Party and first elected governor of Puerto Rico dies.
The U.S. Postal Service issued an commemorative stamp portraying Muñoz Marín.
3
DIVIS
EDUC
DE LA COM 4
SIÓN
ATIVA
MUNIDAD DIVISION OF COMMUNITY EDUCATION
5
THE STARTING POINT OF A CREATIVE ERA IN PUERTO RICO
6
The political relationship
Libre Asociado of Puerto
Muñoz Marín promised to
between the United States
Rico (ela), which is in
improve the living condi-
of America and Puerto
English the autonomous
tions of Puerto Ricans by
Rico was redefined when
commonwealth which was
creating a project called
the United States granted
later established in 1952.
the Division of Commu-
in 1947 the right to elect
That same year, Luis Muñoz
nity Education (divedco),
democratically their own
Marín was the first elected
which was created with the
governor under the Estado
governor by the people.
intention to educate the
G Image representing the relationship between the United States and Puerto Rico, President Obama 2011.
masses, especially the rural
also created images of the
population, about issues of
traditions of rural Puerto
health, education, democ-
Rican life that were rapidly
racy, and the economy.
disappearing. divedco
divedco achieved this
made these posters until
goal by producing didactic
1989, when the project was
posters, films, and booklets.
shut down.
In the process, divedco
7
“The films, books, and posters of the divedco are produced with constant concern for their use as educational media.” - Luis Muñoz Marín
Governor Luis Muñoz Marín, 1952.
A NEW BEGINNING FOR THE ISLAND divedco was a government
focused around the ideal-
educational agency with
ization of traditional rural
the goal of announcing
life, while at the same time
Muñoz Marín’s ideas about
creating a new democratic
Puerto Rican culture and
citizenship. For Marín it
citizenship. Muñoz Marín
was extremely important to
was committed to promote
integrate both ends.
the Puerto Rican culture
8
Under his leadership, the
and strengthened, even as
Rican culture was founded
new autonomous state was
the island and its people
in 1955. The University
dedicated to education
remained subject to the will
of Puerto Rico continued
beyond simple instruction,
of the US Congress and the
to host intellectuals from
and the administration
profit-maximizing strate-
Spain and Latin America,
invested a great deal in
gies of United States-based
and the Casals Festival
developing a grand cultur-
businesses.”
was inaugurated by cellist
al-pedagogical discourse.
Pablo Casals, one of sev-
The state’s promotion of
With the election of Muñoz
eral prominent Catalonian
saving a cultural nation-
Marín, the island entered
intellectuals who chose
alism was part of this
a period of creating vari-
Puerto Rico as their place
discourse: “Puerto Rican
ous cultural institutions.
of refuge from the Spanish
culture was to be preserved
The Institute of Puerto
dictatorship.
Rural life, 1950s.
9
10
divedco grew out of these
The main goal that Muñoz
stitutionalize culture. The
efforts. Through these
Marín had for Puerto Rico
national identity, to be built
institutions, the state pro-
was to create and conserve
upon the symbols of sov-
moted its vision of Puerto
the Puerto Rican essence,
ereign nationhood, could
Rican culture and legiti-
best known as the national
exist within the confines
mated itself in the eyes of
identity. Muñoz Marín
of institutionalized culture
its citizens as the primary
looked for intellectuals
through the artistic works
and authentic representa-
who defined and imagined
that writers and artists
tive of their culture.
the nation in their literary
created in the printed word
production as a way to in-
and visual image.
The Institute of Puerto Rican Culture, 1955.
THE GROWTH OF THE DIVISION The Institute of Puerto
art that pedagogically en-
Muñoz Marín recruited
Rican Culture, founded
acted that vision of culture.
the help of a North Ameri-
in 1955, required defining
can photographer, Edwin
what should be understood
divedco was established
Rosskam to manage the
as the nation’s culture.
with the purpose to educate
divedco. Later on, Jack
Previous to this, the di-
the community through
Delano, famous photog-
vedco was the first project
the publication of books,
rapher, and his wife, Irene
in which the state created
films and different edu-
Delano, graphic artist, took
a relatively autonomous
cational programs related
over of the division’s units
space for a group of Puerto
to the island’s cultural
of film and graphic design.
Rican intellectuals to create
heritage and the sociology.
These two units served as
left page: Irene & Jack Delano, 1955. next page: Luis Muñoz Marín helping the people, 1950s.
11
12
13
Hygiene posters made with the collaboration of Irene Delano & Francisco Palacios, 1946-47.
14
a type of school in which it
Analysis, and Production,
The law states: “The pur-
gave artist the opportunity
which included the film,
pose of community educa-
to relate to the produc-
editorial, and graphic arts
tion is to communicate
tion of films, photography,
sections. The formation
basic teaching about the
paintings and graphics. The
of divedco consolidated
nature of man, his history,
programs sponsored by the
Muñoz Marín’s search for
his life, his way of working
Division needed an effec-
a more “modern” way of
and governing himself in
tive way of communication
educating the people, not
the world and in Puerto
to inform the public about
only about basic problems
Rico. This teaching, aimed
the programs. The medium
such as health care, but
at adult citizens meeting
chosen was the poster.
about what the new citizens
in neighborhood groups
of Puerto Rico would be
in rural areas, small towns
divedco had four divi-
like as the twin processes
and cities, will be commu-
sions: Administration,
of industrialization and
nicated by means of film,
Field and Training,
democratization evolved.
radio, books, pamphlets,
posters, phonographic
cation, cooperation, and so-
lar culture” or, rather, a
recordings, lectures and
cial life, through the action
carefully selected sampling
group discussions. Its aim
of the community itself.
of people’s beliefs and
is to provide the good hand
The community must not
practices. Muñoz Marín
of popular culture with the
be civically unemployed.
was often concerned about
tool of a basic education. In
The community can be
distinguishing his political
practice, this means giving
continuously and benefi-
program from more radical
the communities, and the
cially employed for itself, in
nationalist programs, and
Puerto Rican community
terms of its members’ pride
he did so by highlighting
as a whole, the desire, the
and satisfaction.”
its peaceful, nonmilitary character.
tendency and the means to use its aptitudes for solving
The modernizing project’s
many of its own problems
starting point would be
in the areas of health, edu-
“the good hand of popu-
Rural school in Puerto Rico, 1950.
15
EL CA
DE PUER
16
ARTEL
RTO RICO THE PUERTO RICAN POSTER
17
THE
INTERPR WHAT THEY’RE TRYING TO SAY El cartel is a well-known
munity for public health,
One of the important art-
tradition in Puerto Rico.
education, and develop-
ists that worked with the
Cartel in English means
ment programs. divedco
divedco, Lorenzo Homar
poster, however, it was not
established a connection
was the first artist who
until the 1940s were the
between art, politics and
worked with the creative
silkscreen poster became
the preoccupations with di-
incorporation of text and
an important form of artis-
dactic endeavors. divedco
image, and an innovative
tic communication for the
had a political and didactic
use of typography and cal-
purpose of the divedco.
agenda that constrained a
ligraphy to the posters. This
purely aesthetic production,
led to a refinement of the
Like said before, divedco’s
and at the same time cre-
social, informational, and
purpose looked more close-
ated a space in which artists
educational poster.
ly was to help advertise in
developed their craft.
an artistic form to the com-
18
RETATION
“Ajedrez”, Poster design by Antonio Martorell, 1979. “El Apartamiento”, Poster design by Rafael Tufiño, 1965.
19
The success of the graphic arts workshop of divedco influenced other government agencies. In 1957 Lorenzo Homar was recruited to open the Graphics Workshop for the Institute of Puerto Rican Culture. The University of Puerto Rico inaugurated print workshops headed by José Antonio Torres Martinó and Carlos Marichal. divedco played a significant role in the early years of the Puerto Rican graphic arts by creating a place for experimentation and training whose alumni would go on to launched numerous workshops.
“El Cartel”, Poster design by Lorenzo Homar, 1972. 20
21
Silkscreen production, 1950s.
22
The Puerto Rican poster
chinery or electricity didn’t
emerged from the rich ar-
exist in many of the regions
tistic environment that pre-
of the island.
vailed in the island. Artists used the traditional folklore, SILKSCREEN PROCESS which are the Spanish and
The silkscreen process be-
African roots mixed with
came the primordial tech-
the taíno inheritance. At
nique of creating posters.
the beginning of the 1950s,
Each artist completed their
many of the Puerto Rican
posters from start to fin-
artists that were known
ish, including every single
at that time were asked
creative step that took
to work in experimenting
them to create the poster,
different new techniques
such as the preliminary
and methods. Some of
sketches, cutting the stencil
these artists were Antonio
and the mix of inks that
Martorell, Julio Rosado del
were used in each poster.
Valle, Rafael Tufiño, Felix
In the divedco, a flexible
Bonilla, Antonio Maldona-
policy was established that
do y Lorenzo Homar. Later
allowed artists to develop
on, under Homar’s direc-
themselves individually, at
torship, artists produced
the same time they would
well-done silkscreen prints
flourish their experiences
and graphic illustrations
in collective projects. Just
for many publications and
like painters, they trans-
programs. The silkscreen
ferred to the poster, using
process was selected for the
the silkscreen method, the
production of posters since
qualities that come from
many of the materials, ma-
the artistic medium they
23
work with. The paintbrush
One significant char-
conscious obligation limits
trace is often noticeable
acteristic of the Puerto
the freedom of expression
when they transfer the
Rican poster was the vast
of the artist as an individual,
sketch through the sieve
knowledge the artist had
but allows one of the main
and then to paper. These
to accomplish the theme
purposes of the poster to
artists looked for a means
they were trying to com-
be fulfilled: that the mes-
of expression that was also
municate. For example,
sage reaches the observer
a reflection of the pliant
the exhibition poster, the
directly using a frame of
situation and would serve
artist interprets a pictorial
reference that is associated
the county’s social needs.
image according to the
with the theme.
To accomplish it, the design
artist’s style in which the
included community icons.
poster is exhibited. This
“2da Bienal Del Grabado” , Poster design by Tony Maldonado, 1972.
24
TYPOGRAPHY Typography was essential in the design. Artist tried to make it, as an integral part of the piece and in many times it becomes a pictorial image, and at the same time literary. If we are talking about a ballet poster (shown on the right), the type can dance, or if a poster were for a concert, the type would have the capacity to rhythmically move. As a result, each poster it’s not only a commercial object, but also a “work of art”. A work of art meaning that the poster is likened to a fine artistic work, as by reason of beauty or craft. Posters from the divedco had different themes; they announced films that the divedco produced to educate the people about living, hygiene and health problems. When the Puerto Rico government estab“Concierto de Ballet”, Poster design by Rafael Tufiño, 1965.
25
26
lished the Institute of Puer-
joined the Institute of
the Puerto Rican poster
to Rican Culture in 1955,
Puerto Rican Culture and
received international rec-
to promote the national
established a workshop
ognition when 17 posters
culture, the theme of the
that taught young students
were selected in 1960 for
posters changed. It changed
in the artistic work. They
the International Poster Ex-
from being an educative
learned to create xylogra-
hibition in Canada. From
poster to being a cultural
phy, silkscreen, and engrav-
then, the Puerto Rican
one, getting to know music,
ings, which were used in
poster continued to flourish
archeology, literature,
brochures, advertisements,
until 1987, turning this into
theater, and architecture
book illustrations and
a great manifestation for
programs. Lorenzo Homar
posters. During this period,
Puerto Rico.
Poster designs by Lorenzo Homar, 1955-1960.
27
RAÍCE
LA IDEN 28
ES DE
NTIDAD ROOTS OF IDENTITY
29
THE MIXTURE CULTURES THAT MAKE UP THE PUERTO RICAN Puerto Rican popular culture has a combination of different traditions, which is a product of the coexistence of the TaĂno, Spanish, African, and, North American cultures. Several manifestations and elements make up the popular culture. For example, the folklore, the celebrations,
30
pastimes, art, and popular music, and more not only identify and distinguish a culture, but they serve as vehicles of transmission and preservation of cultural heritage. The different cultural contributions were adopted and adapted with a touch of the Caribbean.
Some conserved echoes of its origins, while other were reinterpreted and recreated, giving rise to new elements and consequent developments. Also, the Caribbean and American context has provided Puerto Rico different experiences that have shaped the Puerto Rican identity.
E
IDENTITY
Image used for the cover of the book, “Puerto Rico Arte e Identidad” (Puerto Rico Art and Identity), 2004.
31
FOLKLORE
evoke old traditions and
carols called aguinaldos are
Folklore specifically
historical memories. In
sung in religious festivi-
consists of cultural expres-
Puerto Rico, many tradi-
ties and during caroling in
sions that are rooted in the
tions are closely tied to the
groups called parrandas,
socio-cultural context and
spiritual life of the people.
in which visits are paid to
are commonly identified as
people in their homes very
being typical and tradi-
Many emblematic rituals
tional. These include folk
are performed during the
dances and music, crafts,
Christmas season, one of
Other traditions and cus-
the rituals of daily life, and
them being the celebration
toms are related to Chris-
sayings that reflect the
of Three Kings’ Day. There
tian celebrations and rites
wisdom of common people.
is the gathering of grass for
such as Lent, processions
Traditions and customs
the Kings’ camels, which
during Holy Week, and the
reaffirm and disseminate
are to visit children the
Day of the Holy Innocents.
a particular worldview.
night before, bringing those
Countless popular rituals
gifts. In addition, a kind of
“Le Lo Laí”, Painting by Lorenzo Homar, 1952-53.
32
early in the morning.
Another element of folklore is the music of Puerto Rico, which is also derived from cultural syncretism. European, African, and Taíno influences are present in all of its rhythms, and musical instruments endowing Puerto Rican music with a particular character and style. Traditionally, this folk music has been categorized as country music with European roots, including genres such as the seis, the Spanish couplet or copla, the guaracha, the waltz, the mazurka, the polka, Christmas carols, children’s games and songs, and the Christmas aguinaldo, as well as Afro-Puerto Rican genres such as the bomba and plena. These musical genres include particular instruments such as the cuatro, the tiple, the bordonúa, the
“Baile de Bomba”,Painting by Rafael Tufiño, 1958.
33
tres, the bomba drum, the tambourine, the güiro, and the maracas, the latter being a kind of rattle of Taíno origin. The music cadence and deals with the common themes of daily life, love, and religion. The art of craft making is also an important part of local folklore. Different kinds of crafts are created through a diversity of techniques and materials. Many of these traditions date from Spanish colonial times when isolation and poverty stimulated the ingenuity and creativity of the settlers and led to the manufacture of muchneeded artifacts. Examples of these are the art of carving wood images of saints and artisanal toys; knitting and crocheting such as the creation of mundillo lace; musical instruments like the cuatro; kitchen instruments, such as the jataca; furnishings, such as hammocks, and others.
34
“La Plena”, Poster design by Rafael Tufiño, 1960.
Techniques were also refined to create true pieces of art and decoration. Folklore also includes the popular sayings, jokes, riddles, legends, songs, and poetry. There is a repertoire of children’s stories, poems, and songs that are taught to the young, such as Mambrú se fue a la guerra and Doña Ana no está aquí, and stories, like those based on the character of Juan Bobo and others. CELEBRATIONS Celebrations and folk festivals are largely based on religious beliefs, although they also include important social and political events, as well as the different harvest seasons. Some are celebrations held in particular towns and others are celebrated all over the island. American-style parades are also held in Puerto Rico, such as on Saint Patrick’s day.
“Décimo concurso bienal para fabricantes de instrumentos musicales”, Poster design by Unknown artist, 1978.
35
Island-wide celebrations
commemorate the com-
POPULAR MUSIC
include religious festivities
monwealth constitution
Popular music has been a
such as Christmas, Three
of 1952 and Independence
widely practiced art form
Kings’ Day, Holy Week, the
Day of the United States. In
in Puerto Rico. The tropi-
Eve of Saint John’s Day, and
Puerto Rico, these festivals
cal genre called salsa, the
the more recent tradi-
are the base and source of
romantic bolero, and the
tion, Thanksgiving, which
dissemination of popular
socially conscious music
originated in the United
culture, since they offer
called nueva trova are part
States. Political holidays
music, dance, food, enter-
of the variety of musical
include official holidays
tainment, and crafts.
styles used by local com-
such as Constitution Day to
36
posers and singers. Recent
“Baile de Bomba”, Painting by Rafael Tufiño, 1969.
trends include rock and roll
from real life. Frequently
evolution. Popular culture
in Spanish and reggaetón.
used emblematic elements
bears witness to the Puerto
include the flamboyan tree,
Rican personality and the
POPULAR ART
rural housing, the coquí
cultural complexity that is
Popular art is also present
frog, the sentry boxes of El
the essence of the Puerto
in the visual arts, through
Morro, and others.
Rican culture.
painting, ceramics, silk screens, posters, and urban
Popular culture is a reflec-
murals. The subjects of
tion of the shared values
this art are usually country
of Puerto Rican society,
and urban scenes taken
as well as its history and
37
CART
COMO M DE ENSE 38
TELES
MÉTODO EÑANZA POSTER AS A WAY OF TEACHING
39
THE EDUCATI GROWTH WITH BOOKS, MURAL PAPER, POSTERS & FILMS
40
More than 3,000,000
entation to the people. As
study group and gives them
books on various subjects
the group organizer goes
the opportunity to distrib-
have been produced and
about his task of building
ute educational material in
distributed by divedco.
the people’s confidence in
their locality.
These simply written, fully
their worth as members of
illustrated volumes are
a community, he discusses
A mural paper, posted in
a part of the program to
with each family the text of
strategic places in the com-
bring stimulus and ori-
a book, asks them to join a
munity, tells of the coming
IONAL H
Image showing posters on a wall.
41
of a book and highlights some of its important points. Posters are essential, too, especially in announcing a film showings, health and hygiene awareness, government programs, etc. Films complement the message of the book and are documentaries of a dramatic nature. The night of the film showing is a time for recreation as well as education. The Division has produced 25 motion pictures, which have been presented more than 8,000 times before a total of 3,500,000 people. Images shown in this chapter communicate different messages to create consciousness to the community. Such as the poster, Combata las Enfermedades (shown on the left), shows the importance of hygiene when it comes to water. It
42
(left) “Combata las Enfermedades”, Poster design by Robert Gwathmey, 1947.
tells the community that
(right) “Buena Alimentacion, Buena Salud, Mayor Aprendizaje”,Poster design by Rafael Tufiño, 1975.
water to avoid getting sick.
they should always boil the
43
“Su Salud�, Poster design by Jose Melendez Contreras, 1967.
44
“Intolerancia�, Poster design by Jose Melendez Contreras, 1967.
45
CART
CON PRO
GUBERNA 46
TELES
OPÓSITO
AMENTAL POSTERS WITH GOVERNMENT PURPOSES
47
THE EFFECTIV
OF USING POSTERS AS A WAY TO PROMOTE A BETTE
48
The encouragement of edu-
Posters dealing with the
In another poster on the
cation to eradicate illiteracy
voting issue appealed to
same topic, referents from
was one of the main agen-
the large masses of dispos-
the rural world served to
das of Luis Muñoz Marín.
sessed jíbaros that consti-
better communicate an
The visual arts was part of
tuted the electoral base of
ideological message to the
that program, serving to
the ela. The male figure
masses so as to draw their
spread social values and
extending a ballot toward
political support. That is
attitudes that enable the
the viewer in Rosskam’s In-
the case of El voto es la her-
population to adapt them-
scríbase (see page 54) urged
ramienta con que hacemos
selves to the new industrial
potential voters to exercise
nuestro gobierno (shown on
order. The Puerto Rican
what was not only a right
the right), where Rosskam
government used the post-
but the responsibility of
established an analogical
ers as a way of communica-
every conscious citizen liv-
relationship between the
tion and propaganda.
ing in a democracy.
working instruments al-
VENESS
ER LIFE
lowing an all male group of agricultural workers to perform their job and the vote as the political tool citizens have to build their government in a democracy. Early propaganda posters visually reiterated the centrality of the people for the political discourse of the ela. Robert Gwathmey’s Por mandato del pueblo los trabajadores que viven
“El Voto es la...”, Poster design by Edwin Rosskam, 1948.
49
50
de la tierra deben participar de los beneficios de la tierra and Por mandato del pueblo, Puerto Rico desarrolla nuevas industrias informed viewers about ela activities as they related to pivotal elements of its economic platform, such as the agrarian reform and the industrial development program. The Puerto Rican government used the posters as a way of communication and propaganda. Posters dealing with the voting issue appealed to the large masses of dispossessed jíbaros that constituted the electoral base of the ela. The male figure extending a ballot toward the viewer in Rosskam’s Inscríbase urged potential voters to exercise what was not only a right but the responsibility of every conscious citizen
(left) “Inscríbase”, Poster design by Edwin Rosskam, 1948. (right) “Por Mandato del Pueblo Puerto Rico desarrolla...”, Poster design by Robert Gwathmey, 1947.
51
“Por Mandato del Pueblo Los Trabajadores...�, Poster design by Robert Gwathmey, 1947.
52
living in a democracy. In
con que hacemos nuestro
political tool citizens have
another poster on the same
gobierno (see page 53),
to build their government
topic, referents from the
where Rosskam established
in a democracy. They also
rural world served to better
an analogical relation-
restated the democratic
communicate an ideologi-
ship between the working
basis of a new political
cal message to the masses
instruments allowing an all
administration claiming to
so as to draw their political
male group of agricultural
exercise the will of the ma-
support. That is the case of
workers to perform their
jority. In both posters, the
El voto es la herramienta
job and the vote as the
victims of absentee capital,
“Hacia Mejores Viviendas�, Poster design by Irene Delano, 1947.
the rural dwellers, figured
tural laborers working on
goods manufactured by
as the main beneficiaries of
proportional benefit farms
the state- owned factories
economic reforms. In the
(parcelas) gained to sugar
shown in the background.
case of El voto es la her-
corporations; and in the
The government used
ramienta con que hacemos
second, Puerto Rico desar-
posters to communicate
nuestro gobierno (page 53),
rolla nuevas industrias
the people their rights and
the collectivity referred to
(page 55), shows a peasant
everything that would be
as the people is represented
couple posing behind a
helpful to them in every
by a group of agricul-
table displaying industrial
kind of way.
53
EL FI
DEL CA 54
INAL
AMINO THE END OF THE ROAD
55
THE CONCLUS THE OVERALL IMPORTANCE OF THE POSTER
56
divedco’s educational
the beginning, divedco’s
Even though one of di-
tools show the extent to
educational initiative was
vedco’s objectives was to
which particular ideologies
intended for both rural
empower rural communi-
can influence the content
and urban communities.
ties, to make them aware
and structure of its cultural
However, its materials did
that they were also respon-
productions. In the case
an impression of an image
sible for their social and
of Puerto Rico, a political
of the Puerto Rican peasant,
economic well being, in
model under a democracy,
or jíbaro, to the extent that
the long run the program
an economic system such
it refused to account for
increased people‘s depen-
as the capitalism, and a
other social phenomena tat
dency on a state apparatus.
social intervention policy,
were part of people’s experi-
Because this government
which its main target was
ence. As a result, rural com-
program served to chan-
directed to a community
munities came to represent
nel multiple resources to
development, combined to
the legitimate depository
hundreds of isolated com-
create a literacy campaign
of Puerto Rican identity to
munities, it was perceived
aimed at disciplining a
which the urban population
not only as an educational
diverse population. From
posed a challenge.
program, but also as a
SION government agency the
and, thus, determined the
people could resort to for
ways in which those needs
immediate assistance. This
would be satisfied.
dependency contradicts the self-sufficient character at-
In the end, it is clear that
tained by communities and,
the poster in Puerto Rico
therefore, the idea of popu-
was an effective way of
lar autonomy articulated
communication used by
by the government. De-
anyone who wanted to
pendency also reinforced a
get an important message
paternalistic stance toward
across the island, for the
the popular classes. In addi-
good of the people.
tion to its leading role, the Puerto Rican government assumed a pedagogical
“Ayúdelo”, Poster design by José Antonio Ortiz, 1947.
function. It became the interpreter of people‘s needs
57
59
60