• Home
    • Get the Podcasts
    • About
      • Contact Latinopia.com
      • Copyright Credits
      • Production Credits
      • Research Credits
      • Terms of Use
      • Teachers Guides
  • Art
    • LATINOPIA ART
    • INTERVIEWS
  • Film/TV
    • LATINOPIA CINEMA
    • LATINOPIA SHOWCASE
    • INTERVIEWS
    • FEATURES
  • Food
    • LATINOPIA FOOD
    • COOKING
    • RESTAURANTS
  • History
    • LATINOPIA EVENT
    • LATINOPIA HERO
    • TIMELINES
    • BIOGRAPHY
    • EVENT PROFILE
    • MOMENT IN TIME
    • DOCUMENTS
    • TEACHERS GUIDES
  • Lit
    • LATINOPIA WORD
    • LATINOPIA PLÁTICA
    • LATINOPIA BOOK REVIEW
    • PIONEER AMERICAN LATINA AUTHORS
    • INTERVIEWS
    • FEATURES
  • Music
    • LATINOPIA MUSIC
    • INTERVIEWS
    • FEATURES
  • Theater
    • LATINOPIA TEATRO
    • INTERVIEWS
  • Blogs
    • Angela’s Photo of the Week
    • Arnie & Porfi
    • Bravo Road with Don Felípe
    • Burundanga Boricua
    • Chicano Music Chronicles
    • Fierce Politics by Dr. Alvaro Huerta
    • Mirándolo Bien with Eduado Díaz
    • Political Salsa y Más
    • Mis Pensamientos
    • Latinopia Guest Blogs
    • Tales of Torres
    • Word Vision Harry Gamboa Jr.
    • Julio Medina Serendipity
    • ROMO DE TEJAS
    • Sara Ines Calderon
    • Ricky Luv Video
    • Zombie Mex Diaries
    • Tia Tenopia
  • Podcasts
    • Louie Perez’s Good Morning Aztlán
    • Mark Guerrero’s ELA Music Stories
    • Mark Guerrero’s Chicano Music Chronicles
      • Yoga Talk with Julie Carmen

latinopia.com

Latino arts, history and culture

  • Home
    • Get the Podcasts
    • About
      • Contact Latinopia.com
      • Copyright Credits
      • Production Credits
      • Research Credits
      • Terms of Use
      • Teachers Guides
  • Art
    • LATINOPIA ART
    • INTERVIEWS
  • Film/TV
    • LATINOPIA CINEMA
    • LATINOPIA SHOWCASE
    • INTERVIEWS
    • FEATURES
  • Food
    • LATINOPIA FOOD
    • COOKING
    • RESTAURANTS
  • History
    • LATINOPIA EVENT
    • LATINOPIA HERO
    • TIMELINES
    • BIOGRAPHY
    • EVENT PROFILE
    • MOMENT IN TIME
    • DOCUMENTS
    • TEACHERS GUIDES
  • Lit
    • LATINOPIA WORD
    • LATINOPIA PLÁTICA
    • LATINOPIA BOOK REVIEW
    • PIONEER AMERICAN LATINA AUTHORS
    • INTERVIEWS
    • FEATURES
  • Music
    • LATINOPIA MUSIC
    • INTERVIEWS
    • FEATURES
  • Theater
    • LATINOPIA TEATRO
    • INTERVIEWS
  • Blogs
    • Angela’s Photo of the Week
    • Arnie & Porfi
    • Bravo Road with Don Felípe
    • Burundanga Boricua
    • Chicano Music Chronicles
    • Fierce Politics by Dr. Alvaro Huerta
    • Mirándolo Bien with Eduado Díaz
    • Political Salsa y Más
    • Mis Pensamientos
    • Latinopia Guest Blogs
    • Tales of Torres
    • Word Vision Harry Gamboa Jr.
    • Julio Medina Serendipity
    • ROMO DE TEJAS
    • Sara Ines Calderon
    • Ricky Luv Video
    • Zombie Mex Diaries
    • Tia Tenopia
  • Podcasts
    • Louie Perez’s Good Morning Aztlán
    • Mark Guerrero’s ELA Music Stories
    • Mark Guerrero’s Chicano Music Chronicles
      • Yoga Talk with Julie Carmen
You are here: Home / Blogs / RICARDO ROMO’S TEJANO REPORT 5.22.21 “COMING TO AMERICA IN 1598: A LATINO STORY”

RICARDO ROMO’S TEJANO REPORT 5.22.21 “COMING TO AMERICA IN 1598: A LATINO STORY”

May 22, 2021 by Tia Tenopia

Coming to America in 1598: A Latino Story

Castillo San Cristobal in Old San Juan, Puerto Rico is one of several Caribe military fortresses that housed colonial Spanish soldiers. Photo by Ricardo Romo 2001.

In 1598 my great grandfather on my mother’s side, Miguel Sanchez Saenz [10th generation], sailed from the Spanish Las Riojas region to the Americas as an indentured servant. Saenz hailed from Anguiano, Las Riojas, a short distance from Pamplona, a town famed for
its annual run of the bulls.

By the end of the 1500s, it had become difficult to emigrate to the Americas. Scholars note that by 1560 “unskilled young men were no longer encouraged to emigrate, indeed, by 1560 the colonies were embarrassingly full of them already.” If Sanez wished to emigrate to the Americas, there was a singular way–to join his employer, Pedro Redondo de Villegas.

Villegas’ commercial assignment in Havana, Cuba was military related and he likely viewed his emigration as permanent as he left Spain with his family and servant. Spanish records listed Villegas’ trade as Contador de Fabrica de Artilleria, an accountant for a munitions plant in
Havana.

In the Spanish records “Catálogo de Pasajeros a Indias [1586-1599], known as the ‘passenger lists,’ Saenz, a young teenager, is listed as a ‘criado’ or servant to Villegas. The Spanish records show that Saenz was a native of Anguiano, a Province of La Rioja-Castilla La
Vieja and was given passenger No. 4,898.

Much changed for the Spanish colonies after Villegas and Saenz landed in Cuba. Passengers were on constant alert, fearing attacks from pirate ships or “corsairs” sailing with French, English, and Dutch sailors. Following an attack on the port city of Santiago, Cuba in 1586, the
Spanish Crown decided that the colonies had to fortify and defend themselves, thus the need for more soldiers and firearms experts.

Cuba and Florida as part of Spain. Map of the Gulf of Mexico. In The History of America. Pub. in London 1777. From the collection of Ricardo Romo.

Saenz arrived in Havana at age 18, and in addition to his daily servant’s duties, he received training in the use of firearms. In 1601 as Saenz completed his servitude obligations, Spain allowed for the importation of 600 African slaves per year to Espanola, Puerto Rico, and
Cuba. Saenz was not in Havana long enough to witness the creation of large sugar plantations worked by slaves. After fulfilling his servitude obligation Saenz set sail for the port of Vera Cruz in Nueva Espana, as Mexico was then known. He was 20 years old.

My specific information about Saenz and his employer Villegas originated in Joel Rene Escobar y Saenz’s excellent research report, Family History of Capt. Miguel Sanchez Saenz and his Descendants published in 2002 in San Antonio. I also used various other historical sources
to place life in Cuba in perspective. It was helpful that Escobar, a descendant of Saenz, also documented his ancestor’s later migration from Cuba to Monterrey, the capital of Nuevo Leon, at the turn of the century circa 1600.

Escobar wrote that when Capt. Saenz migrated to Nuevo Leon, New Spain’s northern frontier, sometime between the years 1600-1610, he had already enlisted in the military. Saenz met and married Ana de Trevino, daughter of Capt. Jose de Trevino and Leonor de Ayala. My research shows that Capt. Jose de Trevino, Saenz’ father-in-law, arrived in Monterrey in 1603. Texas historian Armando C. Alonso [Tejano Legacy] notes that Capt. Trevino introduced “large numbers of cattle, sheep, and horses,” as well as farming equipment and stones for a flour mill in Monterrey.

Saenz arrived in Monterrey at a time when the Royal Crown encouraged the development of Mexico’s northern regions. In order to construct and manage ranches and mines, the colonists required military protection, as well as locally grown food. Colonial Spaniards respected
military men serving the Royal Crown, and officers, in particular, experienced higher social status than ordinary citizens.

Mestizo vaqueros in the Mexican-Texas frontier. [19th century]. Collection of Ricardo Romo.

Captain Miguel Sanchez Saenz was an officer when he migrated to Mexico from Cuba and his marriage to one of the leading ranching families in Nuevo Leon established him as a prominent rancher. He earned the confidence of his community, which elected him as Alcalde Ordiniario in 1625. Saenz, once an indentured servant too poor to afford his own passage to America, eventually became mayor of a major province of Nueva Espana.

Saenz’s story is one of an adventurous young immigrant to the New World whose fortunes were not based on discovery of gold or silver. His hard work, positive relationships with mentors and Mexican citizens, as well as service to his country provided a route for upward mobility and an opportunity to contribute to his adopted Mexican community.

______________________________________________________

Copyright 2021 by Ricardo Romo. All images courtesy of Ricardo Romo.

Filed Under: Blogs, Ricardo Romo's Tejano Report Tagged With: Ricardo Romo, Ricardo Romo's Tejano Report

RICARDO ROMO’S TEJANO REPORT 5.31.25 LATINOS INFLUENCE NEW YORK ART SCENE

May 31, 2025 By wpengine

Latino Artists Are Influencing the New York City Art Scene. I love New York City [NYC], a city with world-class museums, brilliant theatre, opera and orchestra venues, fabulous art galleries, artists’ studios, and more than twenty-three thousand restaurants to delight and often surprise every taste. What I love best about this great city is its […]

BURUNDANGA BORICUA DEL ZOCOTROCO 5.23.25 – EMINENT DANGER

May 23, 2025 By wpengine

In 2012, in Puerto Rico there were 13,000 farms; in the recent agricultural census, between 8 and 10,000 farms are recorded; a substantial decrease in the figure reported for 2012. At present, the agricultural sector of the Puerto Rican economy reports approximately 0.62% of the gross domestic product, which produces 15% of the food consumed […]

BURUNDANGA BORICUA DEL ZOCOTROCO 5.23.25 MORE ON THE NEED TO GROW

May 23, 2025 By wpengine

The title of the documentary, The Need to Grow by Rob Herring and Ryan Wirick,  is suggestive. Its abstract character is enough to apply in a general and also in a particular way. The Need to Grow applies to both the personal and to so many individuals. At the moment, the need for growth in […]

MIS PENSAMIENTOS with ALFEDO SANTOS 5.31.25

May 31, 2025 By wpengine

Bienvenidos otra vez a La Voz Newspaper. Como pueden veren la portada de este ejemplar, tenemos al maestro de la musica de Mariachi Zeke Castro. As you read his story you will discover the long trajectory of his career across the United States and his impact of Mariachi music education in the Austin Independent School […]

More Posts from this Category

New On Latinopia

LATINOPIA ART SONIA ROMERO 2

By Tia Tenopia on October 20, 2013

Sonia Romero is a graphic artist,muralist and print maker. In this second profile on Sonia and her work, Latinopia explores Sonia’s public murals, in particular the “Urban Oasis” mural at the MacArthur Park Metro Station in Los Angeles, California.

Category: Art, LATINOPIA ART

LATINOPIA WORD JOSÉ MONTOYA “PACHUCO PORTFOLIO”

By Tia Tenopia on June 12, 2011

José Montoya is a renowned poet, artist and activist who has been in the forefront of the Chicano art movement. One of his most celebrated poems is titled “Pachuco Portfolio” which pays homage to the iconic and enduring character of El Pachuco, the 1940s  Mexican American youth who dressed in the stylish Zoot Suit.

Category: LATINOPIA WORD, Literature

LATINOPIA WORD XOCHITL JULISA BERMEJO “OUR LADY OF THE WATER GALLONS”

By Tia Tenopia on May 26, 2013

Xochitl-Julisa Bermejo is a poet and teacher from Asuza, California. She volunteered with No More Deaths, a humanitarian organization providing water bottles in the Arizona desert where immigrants crossing from Mexico often die of exposure. She read her poem, “Our Lady of the Water Gallons” at a Mental Cocido (Mental Stew) gathering of Latino authors […]

Category: LATINOPIA WORD, Literature

© 2025 latinopia.com · Pin It - Genesis - WordPress · Admin