Xilonem is an amusement park still located in Ticuantepe, Nicaragua. The painting in the background is unidentified though it appears to be mimicking a Mayan style. Archived by Leah Williams. Photographed by Professor David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

The poster reads "We Americans oppose aggression against Nicaragua." David Schwartz, previous professor of Albright College and photographer responsible for this collection, is pictured wearing a sign that says Reading, Pennsylvania USA. David Schwartz often traveled to Nicaragua with the Witness for Peace, so this peaceful protest may have likely been associated with that group. Archived by Leah Williams. Photographed by Professor David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

Article title "A Secret War for Nicaragua" published in Newsweek on Nov. 8, 1982. Archived by Leah Williams. Photographed by David Schwartz, Albright College, n.d.
by David Schwartz Collection, Albright College

Magazine cover of Newsweek published on Nov. 8, 1982. At the top of the magazine is the headline "The New Age of Skyscrapers." In addition, the issue contains "An Exclusive Report: America's Secret War Target: Nicaragua." Written in ink on the cover is "Return to David Schwartz," who is the photographer responsible for the images in this collection. The picture appears to be men in a plane, preparing to jump. Photographed by David Schwartz, Albright College, n.d.
by David Schwartz Collection, Albright College

The map on "The Geography of Military Spending" appears to come from a presentation by David Schwartz, who is the photographer responsible for this collection. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

The map comparing the size of Nicaragua to the U.S. appears to come from a presentation by David Schwartz, who is the photographer responsible for this collection. Archived by Leah Williams. Photographed by David Schwartz, Albright College, n.d.
by David Schwartz Collection, Albright College

The plaque reads: "Crater Nindiri explorado por Fray Blas del Castillo en 1538. Rellenado por lava en 1670." The English translation is " Crater Nindiri explored by Fray Blas del Castillo in 1538. Filled with lava in 1670." Crater Nindiri is located near the Masaya volcano, south of Managua. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

The sign reads: "Altura 570 metros sobre nivel del mar." The English translation is " Height 570 meters above sea level." Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

The sign reads: "Parque Nacional Volcan Masaya Irena Servicio de Parques Nacionales." The English translation is "National Park Volcano Masaya Irena National Park Service." Masaya is located south of Managua. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

Two people dressed in white with red and blue stitching are dancing outside. One man is wearing a sombrero. Archive by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

Three men are outside playing guitars and an xylophone or marimba. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

Village Life was located on the other side of El Encuentro in Luis Alfonso Velásquez Park. The mural was painted by three different artists, including Manuel García, Hilda Vogle and Julie Aguirre in 1980 and was destroyed by the government in 1990. With bright, optimistic colors, the mural reinforces hope for a better future. The mural, an example of the primitivism style, shows details of peasant life in the village, but the painted image is not the reality of people living in poverty in Nicaragua, especially during the revolution. In addition, the mural contrasts the country versus city life. The mural shows a great deal of flowers, animals, houses, children playing and evidence of a colorful life. In addition, there FSLN flags pictured that emphasize support for the Sandinistas. A street in the mural shows demonstrations in favor of the literacy campaign. For example, three men in the mural have a poster that reads "Alfabetización es liberación," or in English, "Literacy is freedom." Although this colorful life is unrealistic for peasants, the mural captures the spirit of the people during a period of revolution. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

Village Life was located on the other side of El Encuentro in Luis Alfonso Velásquez Park. The mural was painted by three different artists, including Manuel García, Hilda Vogle and Julie Aguirre in 1980 and was destroyed by the government in 1990. With bright, optimistic colors, the mural reinforces hope for a better future. The mural, an example of the primitivism style, shows details of peasant life in the village, but the painted image is not the reality of people living in poverty in Nicaragua, especially during the revolution. In addition, the mural contrasts the country versus city life. The mural shows a great deal of flowers, animals, houses, children playing and evidence of a colorful life. In addition, there FSLN flags pictured that emphasize support for the Sandinistas. A street in the mural shows demonstrations in favor of the literacy campaign. For example, three men in the mural have a poster that reads "Alfabetización es liberación," or in English, "Literacy is freedom." Although this colorful life is unrealistic for peasants, the mural captures the spirit of the people during a period of revolution. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

Designed by Alejandro Canales in collaboration with other artists, Homage to Women was located in Managua in Luis Alfonso Velásquez Park. The mural was painted during a 1980 literacy campaign when the literacy rate in Nicaragua increased from 53% to 88%. Homage to Women celebrates the success of the literacy campaign and the fundamental role women played as teachers and "brigadistas" during this process of social transformation. The murals shows the role of the new woman in a revolutionary society and how women were present in the struggle. In addition, women painted with children symbolizes fertility and the ability to read. One of the women in the mural has a book with the quote: "Las masas hicieron la revolucion," or in English, "The masses made the revolution." Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1981.
by David Schwartz Collection, Albright College

The children are the garden of the revolution, which was painted in the children's library of Luis Alfonso Velásquez, is related to the literacy movement in Nicaragua. The mural was completed in 1984 by North American artists in solidarity with Nicaraguans and was destroyed in 1992. This colorful mural has many images of children, and there are building blocks with Spanish words such as "esperanza" (hope), "amistad" (friendship), "alegría" (happiness), "justicia" (justice), "paz" (peace), "unidad" (unity), "amor" (love), "sobriedad" (sobriety), and "dignidad" (dignity). These values show the hope for a future better than the present situation of Nicaragua. The mural emphasizes diversity and a large map with the words "declaración de solidaridad internacional" (declaration of international solidarity) symbolizes a connection with the rest of the world. On one side of the mural is a woman with a weapon embracing two children and on the other side of the library. On the other side of the library is a painting of Augusto Sandino, hence the iconic sombrero, with a baby in his arms. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

The children are the garden of the revolution, which was painted in the children's library of Luis Alfonso Velásquez, is related to the literacy movement in Nicaragua. The mural was completed in 1984 by North American artists in solidarity with Nicaraguans and was destroyed in 1992. This colorful mural has many images of children, and there are building blocks with Spanish words such as "esperanza" (hope), "amistad" (friendship), "alegría" (happiness), "justicia" (justice), "paz" (peace), "unidad" (unity), "amor" (love), "sobriedad" (sobriety), and "dignidad" (dignity). These values show the hope for a future better than the present situation of Nicaragua. The mural emphasizes diversity and a large map with the words "declaración de solidaridad internacional" (declaration of international solidarity) symbolizes a connection with the rest of the world. On one side of the mural is a woman with a weapon embracing two children and on the other side of the library. On the other side of the library is a painting of Augusto Sandino, hence the iconic sombrero, with a baby in his arms. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

The children are the garden of the revolution, which was painted in the children's library of Luis Alfonso Velásquez, is related to the literacy movement in Nicaragua. The mural was completed in 1984 by North American artists in solidarity with Nicaraguans and was destroyed in 1992. This colorful mural has many images of children, and there are building blocks with Spanish words such as "esperanza" (hope), "amistad" (friendship), "alegría" (happiness), "justicia" (justice), "paz" (peace), "unidad" (unity), "amor" (love), "sobriedad" (sobriety), and "dignidad" (dignity). These values show the hope for a future better than the present situation of Nicaragua. The mural emphasizes diversity and a large map with the words "declaración de solidaridad internacional" (declaration of international solidarity) symbolizes a connection with the rest of the world. On one side of the mural is a woman with a weapon embracing two children and on the other side of the library. On the other side of the library is a painting of Augusto Sandino, hence the iconic sombrero, with a baby in his arms. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

The children are the garden of the revolution, which was painted in the children's library of Luis Alfonso Velásquez, is related to the literacy movement in Nicaragua. The mural was completed in 1984 by North American artists in solidarity with Nicaraguans and was destroyed in 1992. This colorful mural has many images of children, and there are building blocks with Spanish words such as "esperanza" (hope), "amistad" (friendship), "alegría" (happiness), "justicia" (justice), "paz" (peace), "unidad" (unity), "amor" (love), "sobriedad" (sobriety), and "dignidad" (dignity). These values show the hope for a future better than the present situation of Nicaragua. The mural emphasizes diversity and a large map with the words "declaración de solidaridad internacional" (declaration of international solidarity) symbolizes a connection with the rest of the world. On one side of the mural is a woman with a weapon embracing two children and on the other side of the library. On the other side of the library is a painting of Augusto Sandino, hence the iconic sombrero, with a baby in his arms. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

Completed in 1983, The Supreme Dream of Bolívar was located on la avenida Bolívar, Managua. Unfortunately, the majority of this mural was destroyed on October 25, 1990, after the Sandinistas lost the elections, and the rest of the mural was destroyed in 1991. Both artists of this mural, Víctor Canifrú and Alejandra Acuña Moya, were Chilean exiles. The mural was painted 200 years after the death of Simón Bolívar, who was a symbol of independence for many Latin American countries. There are many segments of the mural, and there are not many photographs of the mural, especially of the entire mural. One segment of the mural depicts the United States as a grim reaper, as the U.S., Spain, and Christianity were used as tools of cultural oppression in Latin American countries such as Nicaragua. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College

Completed in 1983, The Supreme Dream of Bolívar was located on la avenida Bolívar, Managua. Unfortunately, the majority of this mural was destroyed on October 25, 1990, after the Sandinistas lost the elections, and the rest of the mural was destroyed in 1991. Both artists of this mural, Víctor Canifrú and Alejandra Acuña Moya, were Chilean exiles. The mural was painted 200 years after the death of Simón Bolívar, who was a symbol of independence for many Latin American countries. There are many segments of the mural, and there are not many photographs of the mural, especially of the entire mural. One segment of the mural depicts the United States as a grim reaper, as the U.S., Spain, and Christianity were used as tools of cultural oppression in Latin American countries such as Nicaragua. Archived by Leah Williams. Photographed by David Schwartz, Albright College, 1984.
by David Schwartz Collection, Albright College