The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this article, the journalist, Malén Rojas Daporta, tells how the Puerto Rican artists, Lorenzo Homar and Rafael Tufiño, created a graphic art portfolio in 1955. Their portfolio was centered on (a form of Puerto Rican popular music called) the “plena,” and on the singer/songwriter, Manuel Jiménez—known as Canario [Canary]—who was considered the King of the Plena. The portfolio includes an introduction by the writer, Tomás Blanco, who sets forth the origins of the plena. Rojas Daporta explains that each artist illustrated six plenas in linoleum block, each representing the images that came to mind while hearing each plena’s song. The journalist concludes her essay with data on the publication of this graphic art portfolio.
The artists Lorenzo Homar and Rafael Tufiño integrated the music of the plenas into linocuts. Each print illustrates the lyrics and music of the plena chosen. The twelve plenas included in the portfolio were: Santa María [St. Mary], Fuego en la Cantera [Fire in the Quarry], Que bonita es [How Beautiful She Is], Temporal [Storm], Cortaron a Elena [They Slashed Elena] and Isidora (all of them were prints by Tufiño) and El Obispo de Ponce [The Bishop of Ponce], Tintorera del Mar [Shark of the Sea], Ay Lola Lola, Ya llegó (los Boxeadores) [Here He Is (The Boxers)], Los Muchachos de Cataño [Cataño’s Boys], and La Guagua [The Bus] (rendered in turn by Homar).