Vea abajo para versión en español / Veja em baixo para versão em português
In honor of World Digital Preservation Day, members of the University of Texas Libraries’ Digital Preservation team have written a series of blog posts to highlight preservation activities at UT Austin, and to explain why the stakes are so high in our ever-changing digital and technological landscape. This post is part two in a series of five.Read part one.
By KATIE PIERCE MEYER, PhD, Head of Architectural Collections, Alexander Architectural Archives | @kpiercemeyer @UT_APL
Architectural archives are confronting
challenges associated with collecting born-digital records, as computer-aided
design and building information modeling has become standard in architecture,
design, planning, and historic preservation. The resulting digital design
records complicate long-term preservation in archival repositories, as many of
these are created using a variety of (often proprietary) software programs.
Over the past few years, the Alexander Architectural Archives took its first steps toward processing born-digital media from a collection donated by a historic preservation architecture firm. The Alexander Archives has approached this effort as a learning opportunity – for students and staff – to develop digital preservation knowledge. Graduate research assistants have learned about digital archives and preservation at the UT School of Information and apply their new skills, working with staff at the Alexander Architectural Archives and UT Libraries’ Digital Stewardship unit to develop preservation plans, recover data from legacy media, create preservation images to be vaulted to tape, and draft public access workflows.
Read more about these efforts and the learning process from the perspective of one of the GRAs at the Alexander Architectural Archives.
Archivos de Arquitectura Alexander
Traducido por Jennifer Isasi
Para el Día Mundial de la Preservación Digital, los miembros del equipo de Preservación Digital de las Bibliotecas de la Universidad de Texas han escrito una serie de entradas de blog que hacen destacar las actividades de preservación en la universidad, y para enfatizar la importancia de la preservación en un presente de cambio tecnológico constante. Este texto es el segundo en una serie de cinco.Lea el primer texto.
registros digitales están representan un desafío para su recopilación por parte
de los archivos de arquitectura al haberse convertido el diseño y modelado de
construcción por computadora en el estándar en arquitectura, diseño,
planificación y preservación histórica. Los registros de diseño digital
complican la preservación a largo plazo en los repositorios del archivo puesto
que son creados con diferentes programas informáticos, muchas veces patentado.
En los últimos años, los Archivos de Arquitectura Alexander (Alexander Architectural Archives) dieron sus primeros pasos hacia el procesamiento de medios de origen digital de una colección donada por una firma de arquitectura de conservación del patrimonio histórico. Los Archivos Alexander han abordado este esfuerzo como una oportunidad de aprendizaje para el desarrollo de conocimiento de preservación digital, tanto para estudiantes como para su personal. Los asistentes de investigación graduados que han aprendido sobre archivos digitales y preservación en la Escuela de Información de UT aplican sus nuevas habilidades trabajando con el personal de la unidad de Administración Digital de Archivos de Arquitectura Alexander y las Bibliotecas de UT para desarrollar planes de preservación, recuperar datos de medios analógicos y crear imágenes de preservación para ser guardadas en cinta.
Lea más (en inglés) sobre estos esfuerzos y el proceso de aprendizaje desde la perspectiva de uno de los estudiantes graduados de los Archivos de Arquitectura Alexander.
Arquivos Arquitectônicos Alexander
Traduzido por Tereza Braga
Para o Dia Mundial da Preservação Digital, os membros do equipe de Preservação Digital das Bibliotecas da Universidade de Texas escreveram uma serie de entradas de blog que enfatizam as atividades de preservação na nossa universidad, para explicar a importancia da preservação no contexto de um presente de tecnología em fluxo constante. Este texto é o primeiro numa série de cinco.Ler o primer texto.
A área de
arquivística arquitetônica vem enfrentando diversos desafios ao congregar
registros criados em mídia digital (“born-digital records”) nesta era em que o
design por computador e a modelagem de dados para construção já se tornaram
padrões nos setores de arquitetura, projeto, planejamento e preservação
histórica. Os registros digitais resultantes desses processos complicam a
preservação a longo prazo em repositórios arquivísticos, pois muitos desses
registros são criados por programas de software diferenciados que
frequentemente são proprietários.
anos, o Alexander Architectural Archives tomou os primeiros passos para o
processamento de mídias criadas digitalmente, utilizando uma coleção doada por
uma firma de arquitetura de preservação histórica. A abordagem escolhida foi
encarar esse trabalho como uma oportunidade valiosa, oferecida não só a alunos
mas também a equipes profissionais, de desenvolver conhecimentos sobre
preservação digital. Foi criada uma equipe de GRAs (assistentes de pesquisa de
pós-graduação), que aprenderam tudo sobre arquivística e preservação digital na
Escola de Informação da UT e agora aplicam suas novas competências trabalhando
com os profissionais do Alexander Architectural Archives e da unidade de Gestão
Digital da UT Libraries para criar planos de preservação, recuperar dados
contidos em mídias antigas, criar imagens de preservação para depósito
eletrônico em fita, e elaborar fluxogramas para o acesso pelo público.
Aprenda mais (em inglês) sobre esse trabalho e
veja como foi o processo de aprendizado da equipe, ouvindo a perspectiva de um
dos GRAs atuando no Alexander Architectural Archives.
Curated by Carla Alvarez, US Latina/o Archivist, Benson Latin American Collection
On Thursday, February 13, the Benson Latin American Collection and Latino Studies celebrated the opening of the archive of the Center for Mexican American Studies (CMAS) with a reception, exhibition, and a staged reading of some of the archive’s contents. The reading told the emotional and powerful story of the Center’s birth, in the voices of those who fought—sometimes at their own professional peril—for an institutional commitment to Mexican American Studies by the University of Texas.
The room was full, and emotions were palpable and visible. Audience and participants ranged from students to faculty to individuals whose history with CMAS extends back decades. Read an account of the event in the Daily Texan.
Founded in 1970, the Center for Mexican American Studies (CMAS) at The University of Texas at Austin benefited from Chicano student activism of the 1960s. Members of the Mexican American Student Organization (MASO) and later the Mexican American Youth Organization (MAYO) demanded equitable representation and resources be devoted to Mexican American studies on the UT campus. After years of activism, the Center was established. It stands as an institutional recognition of the importance of Mexican Americans and Latinos in the history, culture, and the politics of the United States.
Since its founding, the Center has fostered Mexican American studies and Latino studies on campus and nationally through partnerships. A founding member of the Inter-UniversityProgram for Latino Research (IUPLR), CMAS has worked toward shaping Latino scholarship and to support the next generation of Latino studies scholars.
For nearly thirty years, the Center operated an in-house publishing unit, CMAS Books, which began as a publisher of academic monographs, providing a means for affiliated faculty to share their research with other scholars, but blossomed into an imprint with a broader cultural and scholarly reach. CMAS Books published a series of monographs and several periodicals including journals and newsletters for the Center and sponsored entities like IUPLR.
In addition to supporting Mexican American studies on campus and nationally, CMAS had another goal from the beginning—to establish a presence and engage with the larger community. This community engagement has evolved over the years and included partnerships with the Américo Paredes Middle School;La Peña, a community-based arts organization, the Serie Project and Sam Coronado Studio; and a Latino radio project, proudly launched in the early 1990s. That initial radio project eventually developed into the nationally syndicatedLatino USA. The Center has thus firmly established a legacy of expanding and enhancing knowledge of Mexican Americans’ and Latinos’ contributions to the history and culture of the United States.
The Center for Mexican American Studies will celebrate its 50th anniversary during the 2020–2021 academic year.The Center now exists as one of three units under Latino Studies at UT, a powerhouse of Latino thought and advocacy that also includes the Department of Mexican American and Latina/o Studies and the Latino Research Institute. Visit liberalarts.utexas.edu/latinostudies for updates on all anniversary festivities, including special events, public conversations, digital retrospectives, and interactive campus installations.
CMAS at 50 is on view through July 2, 2020, in the second-floor gallery of the Benson Latin American Collection, SRH Unit 1. To view the list of archival materials online, visit the Texas Archival Resources Online (TARO) CMAS.
Vea abajo para versión en español / Veja em baixo para versão em português
In honor of World Digital Preservation Day, members of the University of Texas Libraries’ Digital Preservation team have written a series of blog posts to highlight preservation activities at UT Austin, and to explain why the stakes are so high in our ever-changing digital and technological landscape. This post is part one in a series of five.
Introduction to Digital Preservation
BY DAVID BLISS, Digital Processing Archivist, LLILAS Benson Latin American Studies and Collections; ASHLEY ADAIR, Head of Preservation and Digital Stewardship University of Texas Libraries
In recent decades, the archival field has been transformed by the rise of digital historical records. As computers of all kinds have worked their way into many areas of our professional and personal lives, collections of documents donated to archives in order to preserve individual and institutional histories have come to comprise both traditional paper records and those created using these computers. Digital records can be scans of paper or other objects, born-digital files comparable to paper records, such as Word or text documents, or entirely new kinds of objects, such as video games. Archivists are committed to preserving digital records, just like physical ones, for future generations to use and study. Digital preservation refers to the full range of work involved in ensuring digital files remain accessible and readable in the face of changing hardware and software.
Unlike traditional physical media like paper,
which can typically be kept readable for decades or centuries with proper
housing and ambient conditions, digital files can be lost without periodic,
active intervention on the part of archivists: legacy file formats can become
unreadable on modern computers; hard drives and optical media can break or
degrade over time; and power outages can cause network storage to fail. Digital
archivists take steps to prevent and prepare for these contingencies.
There is no one perfect or even correct solution to the challenge of preserving digital files, so each institution may use different tools, standards, and hardware to carry out the work. Typically, however, digital preservation involves choosing suitable file formats, maintaining storage media and infrastructure, and organizing and describing digital objects in a standardized way that ensures future archivists and users can understand and access what has been preserved.
Digital preservation represents a significant effort that cannot be carried out by a single person or group. At the University of Texas Libraries, dissemination of digital preservation knowledge and skills is a crucial part of digital preservation practice. Training and pedagogy spread digital preservation expertise within the organization and out to researchers and partners, allowing the Libraries to preserve an ever-growing amount of valuable data.
Introducción a la
Para el Día Mundial de la Preservación Digital, los miembros del equipo de Preservación Digital de las Bibliotecas de la Universidad de Texas han escrito una serie de entradas de blog que hacen destacar las actividades de preservación en la universidad, y para enfatizar la importancia de la preservación en un presente de cambio tecnológico constante. Este texto es el primero en una serie de cinco.
Traducido por Jennifer Isasi, Postdoctoral Fellow in Data Curation in Latin American and Latina/o Studies
recientes, el ámbito de los archivo se ha visto transformado con el aumento de
los registros históricos digitales. A medida que las computadoras de todo tipo
han pasado a formar parte de muchas áreas de nuestra vida profesional y
personal, las colecciones de documentos donados a los archivos para preservar
historias individuales e institucionales ahora presentan tanto los registros en
papel tradicionales como los creados con computadoras. Los registros digitales
pueden ser copias escaneadas de papel u otros objetos, archivos digitales
nativos similares a los registros en papel, como documentos de Word o texto, o
tipos de objetos completamente nuevos, como los videojuegos. Los archivistas
están comprometidos a preservar los registros digitales, al igual que los
físicos, para que las generaciones futuras los utilicen y estudien. Así, la
preservación digital se refiere a la gama completa de trabajo involucrado en
garantizar que los archivos digitales permanezcan accesibles y legibles ante el
cambio de hardware y software.
diferencia de los medios físicos tradicionales como el papel, que por lo
general pueden ser preservados por décadas o siglos en condiciones de guardado
adecuadas, los archivos digitales pueden perderse sin la intervención periódica
y activa por parte de los archivistas: las computadoras modernas no pueden leer
algunos de los formatos de archivo más antiguos, los discos duros o los medios
ópticos se pueden romper o degradar con el tiempo y los cortes de luz pueden
causar fallos en el almacenamiento en la red. Los archivistas digitales toman
medidas para prevenir o prepararse para este tipo de imprevistos.
No hay una
solución perfecta ni correcta para el desafío de preservar archivos digitales,
por lo que cada institución puede utilizar diferentes herramientas, estándares
y equipos para este trabajo. Por lo general, no obstante, la preservación
digital implica elegir formatos de archivo adecuados, mantener medios de
almacenaje y su infraestructura así como asegurar la organización y la
descripción de los objetos digitales de una manera estandarizada que garantice
que los futuros archivistas y usuarios puedan comprender y acceder al material
El trabajo y esfuerzo necesarios para la preservación digital no puede ser realizado por una sola persona o grupo. En el conjunto de bibliotecas de la Universidad de Texas, la difusión del conocimiento sobre preservación digital es una parte crucial de la práctica de preservación. Mediante esfuerzos de capacitación y pedagógicos tanto dentro de la organización como entre investigadores y colaboradores, estas bibliotecas están logrando preservar una cantidad cada vez mayor de datos relevantes.
Introdução à preservação digital
Traduzido por Tereza Braga
Para o Dia Mundial da Preservação Digital, os membros do equipe de Preservação Digital das Bibliotecas da Universidade de Texas escreveram uma serie de entradas de blog que enfatizam as atividades de preservação na nossa universidad, para explicar a importancia da preservação no contexto de um presente de tecnología em fluxo constante. Este texto é o primeiro numa série de cinco.
O advento dos registros históricos digitais causou uma completa transformação do setor arquivístico nas últimas décadas. Computadores de todos os tipos estão cada vez mais presentes em cada vez mais aspectos da vida profissional e pessoal. Essa mudança também afeta as coleções de documentos que são doadas a instituições arquivísticas com o intuito de preservar histórias individuais e institucionais. Hoje em dia, uma coleção pode reunir tanto registros tradicionais em papel quanto registros criados por esses diversos computadores. O que chamamos de registro digital pode ser uma simples página ou objeto que tenha sido escaneado ou qualquer arquivo que já tenha nascido em forma digital e que seja comparável com um registro em papel como, por exemplo, um texto regidido em Word. Registro digital pode também significar uma coisa inteiramente nova como um videogame, por exemplo. Arquivistas são profissionais que se dedicam a preservar registros digitais para utilização e estudo por futuras gerações, como já é feito com os registros físicos. A preservação digital pode incluir uma ampla variedade de tarefas, todas com o objetivo comum de fazer com que um arquivo digital se mantenha acessível e legível mesmo com as frequentes mudanças na área de hardware e software.
Um arquivo digital é diferente do arquivo em papel ou outros meios físicos tradicionais, que geralmente pode ser mantido legível por muitas décadas ou mesmo séculos, se armazenado em invólucro adequado e sob as devidas condições ambientais. Um arquivo digital pode se perder para sempre se não houver uma intervenção periódica e ativa por parte de um arquivista. Certos arquivos em formatos mais antigos podem se tornar ilegíveis em computadores modernos. Discos rígidos e mídia ótica podem quebrar ou estragar com o tempo. Cortes de energia podem causar panes em sistemas de armazenagem em rede. O arquivista digital é o profissional que sabe tomar medidas tanto de prevenção quanto de preparação para essas e outras contingências.
Não existe solução perfeita, ou sequer correta, para o desafio que é preservar um arquivo digital. Diferentes instituições utilizam diferentes ferramentas, normas e hardware. De maneira geral, no entanto, as seguintes tarefas devem ser realizadas: escolher o formato de arquivo adequado; providenciar e manter uma mídia e infra-estrutura de armazenagem; e organizar e descrever os objetos digitais de uma maneira que seja padronizada e que permita a futuros arquivistas e usuários entender e acessar o que foi preservado.
A preservação digital é um empreendimento importante que não pode ser executado por apenas um indivíduo ou grupo. Na UT Libraries, a disseminação de conhecimentos e competências de preservação digital é uma parte essencial dessa prática. Temos cursos de capacitação e pedagogia para disseminar essa especialização em preservação digital para toda a organização e também para pesquisadores e parceiros externos. É esse trabalho que capacita a Libraries a preservar um grande volume de dados valiosos que não pára de crescer.
The publishing industry of Cuba experienced a seismic shift in 1959 when Fidel Castro won a revolutionary war against dictator Fulgencio Batista. With this change, underground and subversive media creators of the Batista era became an important part of the new socialist culture. This helped to mobilize the masses in support of the new Castro government and against U.S. capitalistic ideology.
Cuban Comics in the Digital Era examines the art and history of Cuban comics after the successful 1959 revolution, highlighting the creators, characters, heroes, and anti-heroes of Cuba. It also touches on the triumphs and failures of the publishing industry and how Cuban artists today struggle to keep the genre alive.
These materials are part of the Caridad Blanco Collection of Cuban Comic Books, acquired in 2018. Blanco, a Havana-based artist and curator, collected over 700 examples of stand-alone comics and newspaper supplements created between 1937 and 2018.
The Birth of Cuba’s
Key to the process of planning a new nationalistic government was the cementing of a new socialistic cultural identity in the minds of the Cuban populace. Radio, television, and print media (including comics) helped to mobilize the masses.
A new world opened up for the creators of comics, who now had the singular purpose of supporting their new government while still appealing to their readers. In this early era, many of these readers were children, who continued to consume U.S.-created comic books and the ideals that went with them.
Widespread suspicion held that beloved American comics were imperialistic indoctrination tools for Cuban children. In response, the new Cuban government began utilizing comics as a means to teach values that aligned with revolutionary doctrine.
Cuban-created comics replaced American ones on the shelves. These works appealed to highly literate youth. Mixing adventure, comedy, and the ideological tenets of the new government, they portrayed revolution as necessary and exciting, especially for the country’s youth.
This exhibition was curated by Digital Repository Specialist Gilbert Borrego and is part of his fall 2019 Capstone Experience course in partial fulfillment of his MSIS, School of Information, The University of Texas at Austin. In addition to the physical exhibition, Borrego curated a richly illustrated online exhibition.
Gilbert Borrego is currently the Institutional Repository Specialist for Texas ScholarWorks at UT Libraries. He has bachelor’s and master’s degrees in anthropology from Stanford University and will soon complete his master’s in Information Studies at UT Austin. He is passionate about archives, libraries, museums, metadata, and history.
On September 21, 2019, LLILAS Benson Latin American Studies and Collections and the New Orleans Jazz Museum joined forces to make their colonial collections a bit more accessible. The two institutions led a joint transcribe-a-thon that convened community members in person at the Louisiana Historical Center, and remotely through the Benson Latin American Collection’s Facebook page. Together, participants transcribed handwritten Spanish and French documents from 1559 to 1817, with the goal of making these records more useful to teachers, students, researchers, and family historians.
FromThePage, a transcription, translation, and indexing tool, enabled the long-distance collaboration. During a three-hour window, participants browsed the compiled list of manuscripts at both archives and worked together to decipher and transcribe them in the digital scholarship platform. At the halfway point, New Orleans Jazz Museum staff gave us a glimpse of unique colonial cases in their archive, including a declaration of freedom mounted on cloth for a Jamaican man named Santiago Bennet, and broadcast it live through their Facebook page. Following their lead, LLILAS Benson Digital Scholarship (LBDS) staff shared through their Facebook event page some of the Benson’s notable holdings, including its digital collection of geographical descriptions and paintings, or Relaciones Geográficas, of New Spain.
As students, researchers, and community members retraced and rewrote the words of colonial notaries, they were also furthering a long-standing digital initiative of the New Orleans Jazz Museum and Louisiana Historical Center. In the early 2010s, the Museum and Center, along with many other community partners and advocates, accomplished the incredible feat of digitizing some 220,000 pages of notarial records from colonial Louisiana to create a digital collection, www.lacolonialdocs.org. Louisiana Colonial Documents Transcribathon Project Managers Jennifer Long, Michelle Brenner, and Jenny Marie Forsythe culled from this rich resource to create the Museum’s FromThePage collection, which reveals details about enslavement, self-liberation and rebellion, kinship connections, pirate raids, colonial medicine, gambling parties, disputed inheritances, marital strife, and much more.
For the joint event, LBDS staff curated a FromThePage collection of documents written by or about indigenous populations in Mexico from the 16th to the 18th centuries in celebration of the International Year of Indigenous Languages. The team had their work cut out for them: the Benson Latin American Collection preserves numerous significant holdings documenting politics, religion, and culture during the Spanish colonial period, including some of the earliest books published in the Americas (1544–1600) and Sor Juana Inés de la Cruz’s vows of profession (1669–1695), to name a few. Throughout the weekend, a small but dedicated group of individuals answered LLILAS Benson’s call and joined online. Collaborators from both coasts of the United States and as far south as Peru collectively volunteered over twenty hours of their time and fully transcribed fourteen documents from the Benson.
During the weekend of October 19–20, the University of Michigan’s Language Resource Center (LRC) offered some of these transcriptions in their Translate-a-thon, a community-driven event aimed at translating materials for the benefit of the local, national, and international community. A few volunteers—one of whom had done research on colonial Mexico—were thrilled to see documents from the Benson and tackled their translation. Among these was the above decree ordering Tepozotlán’s royal administrator to assign six Natives to work for the Jesuits, underscoring the importance of Native labor in the figurative and literal construction of the Spanish Empire, and the propagation of the Roman Catholic Church. Given the success and Michigan faculty interest in this joint effort, the LRC and the LBDS Office plan to continue the collaboration to broaden the accessibility and use of the Benson’s early modern materials.
The next step at the LBDS Office is to incorporate these primary sources into Texas high school and UT Austin undergraduate curriculum. Earlier this year, LLILAS Benson initiated a Department of Education Title VI–funded partnership with the College of Education’s Department of Curriculum and Instruction to design World History and Geography lesson plans around the Benson’s rich holdings. Building on these pedagogical efforts, LBDS staff will be translating, contextualizing, and promoting the use of these Spanish colonial documents in undergraduate classes and digital scholarship projects at UT and beyond.
For those who missed the event, you can still join the effort! The Benson’s FromThePage collection will be open for collaborative transcription and translation until Sunday, November 3. Check out the documents list and guide to see how you can help.
Greg Lambousy (Director)
Jennifer Long (Scanning Manager)
Bryanne Schexnayder (Scanner)
Michelle Brenner (New Orleans Jazz Museum & Louisiana Historical Center, Reading Room Manager)
Jenny Marie Forsythe (Louisiana Colonial Documents Transcribathon Project Co-Manager)
Handy Acosta Cuellar (PhD Candidate, Tulane University; Instructor of Spanish, Louisiana State University)
Click here for more information on Louisiana Colonial Documents Transcribathon Collaborators.
Julie C. Evershed (Director)
Translation collaborators: Zhehao Tong, Marlon James Sales, and Olivia Alge
Albert A. Palacios (Digital Scholarship Coordinator)
Joshua Ortiz Baco (Digital Scholarship Graduate Research Assistant)
FromThePage collaborators (usernames): guillaume candela, Ken, Betty Cruz L, Matt H., Carolina Casusol, and Handy1985
About the Authors
Albert A. Palacios is Digital Scholarship Coordinator at LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin. Jenny Marie Forsythe is co-manager of the Louisiana Colonial Documents Transcribathon Project. Julie C. Evershed is Language Resource Center Director at the University of Michigan.
By Daniel Arbino, Librarian for U.S. Latina/o Studies
They are colorful, vibrant, tongue-in-cheek, eclectic, expressive, melancholic, and political. They are self-published, sold, traded, and given away. Extremely rare, but inexpensive. And now, they are on display. The University of Texas at Austin’s Latino Studies has a flashy new exhibition in the halls of the Gordon-White Building (GWB). Made up of self-published poetry, essays, photographs, short stories, and artwork, Dissent: Zine Culture (And the Voices You Wouldn’t Hear Otherwise) highlights the Nettie Lee Benson Latin American Collection’s U.S. Latinx Zine and Graphic Novel Collection with over forty zines.
The term “zine” is derived from fanzine, a form of expression that started in the 1930s among science fiction fans. Zines took off in the 1960s among countercultures, particularly those invested in socio-political activism that may have identified with civil rights movements, the Chicano movement, Feminism, LGBTQ+, etc. From the 1970s to the 1990s, zines continued to grow, especially through punk communities. Now, zines are more popular than ever, with a variety of subject matter that can be disseminated using twenty-first-century technologies like social media or Etsy.
What makes zines so important is that they provide an outlet for groups that have been overlooked or silenced by mainstream society and, by extension, publishers. Through self-publishing, creators of cultural content have autonomy over their content and design. This would resonate with the intersectionality flourishing within Latinx communities.
The origins of the U.S. Latinx Zine and Graphic Novel Collection started in the summer of 2017 with the single purchase of Chifladazine at the Lone Star Zine Fest in Austin. Since then, the collection has grown in its size and uniqueness with additional purchases made on trips to San Antonio, New York City, and Albuquerque. Other zines have been purchased online over the span of two years. The collection currently consists of 259 zines, graphic novels, and chapbooks that focus on U.S. Latinx zine creators. Some Indigenous writers are included as well. The Benson’s oldest zine is from 1984, but the majority were published within the last decade.
One particular interest has been on different, but inclusive, Latinx voices, with a special privilege given to feminist and LGBTQ+ expressions. Within the collection, there zines about Xicana veganism, traditional knowledge systems, gentrification, immigration, and body positivity that dismantle ways in which mainstream society thinks about these topics. Their relevance underscores the fact that zines provide a documented record of opposition, hence the exhibition title.
Curated by Mallory Laurel, the Director of Outreach and Communications for Latino Studies, Dissent: Zine Culture (And the Voices You Wouldn’t Hear Otherwise) recognizes the power that self-publishing has as a means to challenge accepted mainstream ideas while attracting the attention of students with their eye-catching formats. The exhibit is thematically structured around seven different themes: health & body, love & relationships, politics & protest, place & identity, medicinal folklore, St. Sucia Zines, and zines that come in different shapes and sizes. Though each scope is different, all aim to enunciate new modes of representation; all refuse to accept silence.
While this particular collection is new, the Benson has a history of collecting ephemeral materials such as Puerto Rican graphic novels, Brazilian cordel literature, Cuban historietas, and cartoneras. Our goal is to offer a wide breadth of materials from Latinx and Latin American populations. To that extent, Latinx zines and graphic novels participate in a hemispheric attempt to use self-publication as a means to articulate perspectives on community and identity. In housing zines at the Benson, we show creators that we value their message, support and promote their work, and want them to succeed. To our patrons, we want to emphasize the inclusivity of our collection and of our space.
The Dissent exhibition will run until December 10, 2019. Patrons can visit the Benson Latin American Collection to access our other zines and should continue checking back periodically as the collection grows.
Durante el verano, LLILAS Benson y el Museo de la Palabra y la Imagen (MUPI) en El Salvador agregaron otra iniciativa digital a su portfolio de colaboración. Desde 2012, las dos instituciones han trabajado juntos para digitalizar archivos relacionados a la Guerra Civil Salvadoreña (1980–1992), gracias al generoso apoyo de la Fundación Andrew W. Mellon. Continuando estos esfuerzos, esta nueva iniciativa también exploró el potencial de las humanidades digitales para destacar una de las colecciones más impresionantes de MUPI: los bordados testimoniales de refugiados salvadoreños.
Los testimonios sobre la violación de derechos humanos se presentan en diferentes formas, y el fundador y actual director de MUPI, Carlos “Santiago” Henríquez Consalvi, ha procurado preservar la diversidad. Poco después de la firma de los Acuerdos de Paz de Chapultepec en 1992 que pusieron fin a la Guerra Civil Salvadoreña, Santiago dirigió una campaña para rescatar el patrimonio cultural creado antes, durante y después del conflicto armado. Esto ha incluido propaganda política, publicaciones y las grabaciones de la estación de Radio Venceremos. Desde su fundación formal en 1999, MUPI ha continuado esta preservación y ha expandido su enfoque para incluir varios temas sobre la cultura e historia salvadoreña.
La colección que ha crecido más recientemente, y el enfoque de esta nueva iniciativa, consiste de bordados testimoniales creados por campesinas salvadoreñas refugiadas en Honduras durante la guerra civil. Estas piezas fueron creadas para comunicar al mundo las experiencias vividas de los refugiados, y muchos de los textiles se enviaron a grupos y organizaciones de solidaridad en Europa y Canadá para ello. Gracias a una campaña internacional reciente, más de veinte obras han sido repatriadas y enviadas a MUPI. A través de talleres en las comunidades rurales de El Salvador, MUPI ha renovado el aprecio por esta tradición cultural, promoviendo el arte y los esfuerzos de repatriación a través de una exposición titulada Bordadoras de Memoria en la capital.
Ahora que los bordados están volviendo a casa, MUPI está utilizando tecnologías digitales para continuar el trabajo de abogar por los derechos humanos que estas mujeres comenzaron en la década de los 1980s. Para alcanzar y educar a un público más amplio e internacional, específicamente jóvenes descendientes de salvadoreños en los Estados Unidos, el Museo trabajó con el personal de Estudios Digitales en LLILAS Benson (LBDS) para recrear Bordadoras de Memoria en línea. En junio, el equipo de LBDS viajó a San Salvador y capacitó al diseñador gráfico de MUPI, Pedro Durán, en el uso de la plataforma Omeka para que pudiera reconcebir la exhibición digitalmente, utilizando fotografías preliminares de los bordados. El equipo también aprovechó la oportunidad para hablar sobre otras herramientas de código abierto que el personal de MUPI puede usar en su trabajo con jóvenes locales.
La visita también lanzó otro proyecto archivístico pos-custodial para ambas instituciones. Dado el tamaño de algunas obras (la pieza que se muestra arriba es más de 2.5 metros de largo), el proyecto requirió un flujo de trabajo completamente diferente en la digitalización y entrenamiento en nuevos equipos. Capacitados por el personal de archivos pos-custodiales (PC) de la Colección Latinoamericana Benson, el equipo de LBDS trabajó con el personal de MUPI para iniciar la digitalización y la descripción archivística de los bordados. El equipo de PC espera incorporar la colección al portal Latin American Digital Initiatives a finales de este año, así que estense atentos.
Over the summer, LLILAS Benson and El Salvador’s Museum of the Word and the Image (often referred to by its acronym, MUPI, for Museo de la Palabra y la Imagen) added yet another digital initiative to their long-standing partnership. Since 2012, the two institutions have worked closely to digitize archival materials related to the Salvadoran Civil War (1980-1992), thanks to the generous support of the Andrew W. Mellon Foundation. While continuing these efforts, this time around the collaboration explored the potential of digital humanities tools to showcase one of MUPI’s most visually compelling collections—embroidered refugee accounts.
Testimonies of human rights violations come in different forms, and MUPI’s founder and current director, Carlos “Santiago” Henríquez Consalvi, has actively sought to preserve the diversity. Soon after the signing of the 1992 Chapultepec Peace Accords that ended the Salvadoran Civil War, Santiago directed a campaign to rescue cultural heritage created prior to, during, and after the armed conflict. This has included political propaganda, periodicals, and the Radio Venceremos station recordings. Since its formal foundation in 1999, MUPI has continued this preservation and expanded its collecting and educational scope to include various topics in Salvadoran culture and history.
Its most recent growing collection—and the focus of this newest collaboration—consists of remarkable embroidered testimonies created by refugee Salvadoran peasant women in Honduras during the civil war. These pieces were meant to communicate to the world the refugees’ lived experiences, with many of the textiles being sent to solidarity groups and organizations in Europe and Canada at the time. Thanks to a recent international campaign, over twenty artworks have been repatriated and sent to MUPI. Through community workshops in El Salvador’s countryside, MUPI has striven to renew appreciation for this cultural tradition, promoting the art form and subsequent collecting efforts through an exhibition titled Embroiderers of Memories in San Salvador.
Now that the testimonies are making their way back home, MUPI is using digital technologies to continue the advocacy work these women began in the 1980s. In an effort to educate a broader and international audience, specifically El Salvadoran-descendant youth in the United States, the Museum worked with LLILAS Benson Digital Scholarship (LBDS) staff to recreate Embroiderers of Memories online. This past June, the LBDS team went to San Salvador and trained MUPI exhibition designer Pedro Durán on how to create digital exhibitions in LLILAS Benson’s Omeka platform so that he could reconceive his design online using working scans of the embroidery. The LBDS team also took the opportunity to introduce MUPI staff to other open-source digital humanities tools that could enrich MUPI’s active engagement with local youth groups.
The visit also launched another post-custodial archival project for both institutions. The initiative required an entirely different approach to digitization and new equipment training, considering the size of some of these artworks; for example, the piece pictured at the beginning of this blog was over 8 feet long. Pre-trained by the Benson’s post-custodial (PC) staff, the LBDS team worked with MUPI staff to start the archival-quality digitization and item-level description of the embroidery collection. The PC team hopes to incorporate the collection into LLILAS Benson’s Latin American Digital Initiatives later this year, so stay tuned.
Museo de la Palabra y la Imagen
Carlos “Santiago” Henríquez Consalvi (MUPI Director)
Carlos Colorado (Digitization Coordinator)
Pedro Durán (Graphic Designer)
Jakelyn López (Archive Coordinator)
Dr. Jennifer Isasi (CLIR Postdoctoral Fellow)
Albert A. Palacios (Digital Scholarship Coordinator)
“I am a Libra (Virgo cusp) with VI — The Lovers destiny”: Celebrating the Birth and Life of Gloria Anzaldúa by Julia Davila Coppedge
Image of Gloria Anzaldúa by Annie F. Valva.
Seventy-seven years ago, on September 26th, Gloria Evangelina Anzaldúa was born to migrant farmers Urbano and Amalia Anzaldúa in Raymondville, Texas. As the oldest of four, she helped work on ranches and farms to help support her family. It was during this time in the Valley that she first learned about discrimination against Mexican Americans. Anzaldúa would later leave South Texas, living in other parts of the state, and in Indiana and California. She would also spend a large part of her career traveling internationally. But, her experiences growing up in the borderlands would influence her writing for the rest of her career, as she alludes to, when states that “I am a turtle, wherever I go I carry ‘home’ on my back.”
a self-described “tejana patlache (queer) nepantlera spiritual activist.” Her contributions to U.S. American
literature, U.S. feminisms, queer theory, postcolonial theory, and Chicana/o
Studies cannot be overstated. Anzaldúa
won many awards in her lifetime including the National Endowment for the Arts
Fiction Award (1991) and the Lambda Lesbian Small Book Press Award (1991).
Anzaldúa died on May 15, 2004 due to
Diabetes-related complications. It is fitting we celebrate Anzaldúa’s life in
the middle of Hispanic Heritage
Month, which is observed September 15th – October 15th.
at UT Austin
received her master’s degree in English and Education in 1972 at UT and
returned in 1974 to pursue a PhD in Literature. In the foreword to the third
edition of This Bridge Called My Back:
Writings By Radical Women of Color, she reflected on her stuggles at UT: “As a
Chicana, I felt invisible, alienated from the gringo university and
dissatisfied with both el movimiento Chicano and the feminist movement…I
rebelled, using my writing to work through my frustrations and make sense of my
While at UT
Austin, Anzaldúa also taught a class called “La Mujer Chicana.” During this
time she struggled to find materials that reflected the experiences of her
students, which drove her to edit the anthology.
“When Borderlands was published there was
hardly a public discourse addressing multiculturalism. Anzaldúa’s persistent
mixing of cultures, languages, and even writing genres, as exemplified in the
structure and content of Borderlands,
was blasphemous. The ‘cultural wars’ were in full force inside and outside the
academy. The 1980s and early 1990s was an era of the mainstream academics
fighting to preserve the Western canon and of political mobilization by
conservatives to add an amendment to the Constitution establishing English as
the official language of the United States…. Under these historical conditions
the publication of Borderlands was an act of courage was well as innovative
intervention to continue advocating for cultural diversity, the inclusion of
sexuality in all academic and political production, and a call to social
justice based on inclusion rather than exclusion.”
2012, twenty-five years after it was published, Borderlands was banned in the Tucson Unified School System in
Arizona, as a part of a law banning Mexican American Studies in public schools.
Pérez and Cantú said the ban “affirms the value of the work even as it attempts
to deny it.” This policy was lifted in 2017 after a federal judge in Arizona ruled
In 2001, just
three years before she died, Anzaldúa
reflected on the work of feminists of color in the foreword to the third
edition of This Bridge Called My Back,
saying “Yes, collectively we’ve gone far.” She continued, “But we’ve lost
ground–affirmative action has been repealed, the borders have been closed,
racism has taken new forms and it’s as pervasive as it was twenty-one years
ago.” Eighteen years later the fight of People of Color, the LGBTQIA+
community, and working class people continues.
Emma Pérez says of Anzaldua’s work, “Long after the end of this century, her philosophy will endure. Gloria was an unassuming philosopher-poet whose words will inspire generations. She articulated our past to make sense of our present…She looked to the past to excavate hope for the future.”
This hope is
reflected in Gloria Anzaldúa’s words, which inspire us today and are a
testament to her lasting impact and legacy:
Lee Benson Latin American Collection is home to the personal archive of Gloria
Anzaldúa, which contains “personal
and biographical materials, correspondence, written works, research materials,
photographs, audiovisual materials, and artifacts” documenting her life and
“The Benson Collection is also composing a complete
bibliographic list of Anzaldúa’s personal library of more
than 5000 books. This is an ongoing project, and interested researchers should
contact the rare books
reading room for this information.”
“Inez Hernandez Tovar and Gloria Anzaldúa discuss
the political context and cultural work of Chicana writers. They explain that
the Chicano movement provided some Chicano and Chicana writers the support and
forums necessary to share their work. While mainstream publishing presses
ignored minority voices, Chicanos and other groups were creating their own
journals. These journals helped legitimate bilingualism among Chicanos as a
vehicle of Chicano expression. Chicanas and Chicanos felt free to publish works
written in a mixture of Spanish and English that reflected the language(s) they
felt most comfortable in.”
“In this memoir-like collection, Anzaldúa’s powerful
voice speaks clearly and passionately. She recounts her life, explains many
aspects of her thought, and explores the intersections between her writings and
postcolonial theory. For readers engaged in postcoloniality, feminist theory,
ethnic studies, or queer identity, Interviews/Entrevistas will be a key
“This reader–which provides a representative sample
of the poetry, prose, fiction, and experimental autobiographical writing that
Anzaldúa produced during her thirty-year career–demonstrates the breadth and
philosophical depth of her work. While the reader contains much of Anzaldúa’s
published writing (including several pieces now out of print), more than half
the material has never before been published. This newly available work offers
fresh insights into crucial aspects of Anzaldúa’s life and career, including
her upbringing, education, teaching experiences, writing practice and
aesthetics, lifelong health struggles, and interest in visual art, as well as
her theories of disability, multiculturalism, pedagogy, and spiritual
“Ever since she can remember, Prietita has heard
terrifying tales of la llorona — the legendary ghost woman who steals children
at night. Against a background of vibrant folk paintings, Gloria Anzaldúa
reinterprets, in a bilingual format, one of the most famous Mexican legends. In
this version, Prietita discovers that la llorona is not what she expects, but
rather a compassionate woman who helps Prietita on her journey of
“Named for the Nahuatl word
meaning “their soul,” IMANIMAN presents work that is sparked from the
soul: the individual soul, the communal soul. These poets interrogate,
complicate, and personalize the borderlands in transgressive and transformative
ways, opening new paths and revisioning old ones for the next generation of
spiritual, political, and cultural border crossers.”
“The inspirational writings of
cultural theorist and social justice activist Gloria Anzaldúa have empowered
generations of women and men throughout the world. Charting the multiplicity of
Anzaldúa’s impact within and beyond academic disciplines, community trenches,
and international borders, Bridging presents more than thirty reflections on
her work and her life, examining vibrant facets in surprising new ways and
inviting readers to engage with these intimate, heartfelt contributions.”
“Mexican and Mexican American
women have written about Texas and their lives in the state since colonial
times. Edited by fellow Tejanas Inés Hernández-Ávila and Norma Elia Cantú,
Entre Guadalupe y Malinche gathers, for the first time, a representative body
of work about the lives and experiences of women who identify as Tejanas in
both the literary and visual arts.
The writings of more than fifty
authors and the artwork of eight artists manifest the nuanced complexity of
what it means to be Tejana and how this identity offers alternative
perspectives to contemporary notions of Chicana identity, community, and
This volume was dedicated
principally to Gloria Anzaldúa.
“Delgadillo analyzes the role of
spiritual mestizaje in Anzaldúa’s work and in relation to other forms of
spirituality and theories of oppression. Illuminating the ways that
contemporary Chicana narratives visualize, imagine, and enact Anzaldúa’s theory
and method of spiritual mestizaje, Delgadillo interprets novels, memoir, and
documentaries. Her critical reading of literary and visual technologies
demonstrates how Chicanas challenge normative categories of gender, sexuality,
nation, and race by depicting alternative visions of spirituality.”
“This collection of essays,
poetry, and artwork brings together scholarly and creative responses inspired
by the life and work of Gloria Anzaldúa. The diverse voices represented in this
collection are gathered from the 2007 national conference and 2009
international conference of the Society for the Study of Gloria Anzaldúa
(SSGA). More than 30 scholars, activists, poets, and artists contributed to EL
MUNDO ZURDO, whose release coincides with the SSGA’s second annual
international conference in San Antonio, Texas.”
“A collection of diverse essays
and poetry that offer scholarly and creative responses inspired by the life and
work of Gloria Anzaldúa, selected from the 2015 meeting of The Society for the
Study of Gloria Anzaldúa.”
“As self-identified lesbians of
color, Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde negotiate diverse,
sometimes conflicting, sets of personal, political, and professional worlds.
Drawing on recent developments in feminist studies and queer theory, AnaLouise
Keating examines the ways in which these writers, in both their creative and
critical work, engage in self-analysis, cultural critique, and the construction
of alternative myths and representations of women.”
Julia Davila Coppedge is the LLILAS Benson User Services GRA. She conducts in-person and online reference requests for patrons using library materials from the Special Collections and circulating collection. Julia is also a 2nd year Master of Science in Information Studies Candidate at UT Austin.
“Now, when a young architect tells me about a project he’s proud of, I say, ‘Get photographs!’” — Frank Welch, On Becoming an Architect
Texas architect Frank Welch developed this outlook after one of his seminal creations – The Birthday in Sterling County, Texas – was plastered over in a renovation by a new owner, against the entreaties of Welch himself.
The Birthday was especially personal to Frank Welch as it was the first project for which he’d been given virtual carte blanche to design a building. So when he learned in 1997 – on the eve of receiving a major award for his work – that the current owner of the iconic building was planning to encircle Welch’s creation with a renovation of the original structure, he felt a profound sense of loss.
“I think the appropriate longhair word for what happened to the Birthday would be transmogrified. That was when I began to realize that nothing does endure,” recounts Welch in On Becoming an Architect.
Frank D. Welch was born in Sherman, Texas in 1927. An early affinity for drawing led him to art classes, where he honed his artistic abilities and developed a love for photography and architecture. By the time he graduated high school, he’d begun to think about becoming an architect.
In 1944, Welch enrolled at Texas A&M as a liberal arts major, but joined the Merchant Marine in order to avoid the draft, but after a 6 month stint and subsequent resignation, he was called up for Selective Service anyway. He served 18 months, then returned to College Station and enrolled in the architecture program.
Though recognized primarily for other strengths, A&M was a little-known bastion for modernist architecture. Welch posited that it was the prevailing aesthetic that made the area a natural fit for the school: “Architecture, coupled with technology, could improve people’s lives. Modernist design might have been urbane and sophisticated, but it appealed to the practical bent of an agricultural and engineering school.”
Welch earned his bachelors in 1951 and after accepting a one-year Fulbright Scholarship to France, returned to Texas to work at the firms of noted architects O’Neil Ford and Richard Colley, both of whose papers are also included in the Alexander Archives; Welch’s time with the two had a significant influence on his style, but it was Ford who brought him to the firm, and who made the greater impression on him. “Most important to me,” says Welch, “I would, from the exposure to Ford, become an architect with a template: a model that guided me. From him I learned how to put building parts together in a direct, logical manner. Throughout my career, I would repeatedly think to myself, ‘How would Neil do it?’”
In 1959, Welch opened his own firm – Frank Welch & Associates – in Odessa in the basement of his brother-in-law’s clothing store, and a year later moved the practice to Midland, where it operated until the mid-1980s. Welch moved the firm to Dallas in 1985, and continued designing buildings until his death in 2017. The firm primarily designed residences but was also active in commercial and public projects, with notable projects like the Midland Episcopal School (1963), the Forrest Oil Building (1974), the Blakemore Planetarium (1972), the Purnell House in Dallas (1981), and the Nasher-Haemisegger House in Dallas (1997).
But it was the hunting cabin at Sterling City that Welch designed for John and BLee Dorn that was his masterwork. The Birthday was taught in classes and the building quickly came to be seen as an icon of regional architecture. When TSA decided to present Welch with the organization’s distinguished 25-Year Award in 1997, they did so for the first time in tandem with another remarkable feat of Texas architecture, the Kimbell Museum – the only time that it has been given to two built works.
Above his work in the field, Welch’s interest and background in writing and literature led him to pen multiple volumes and contribute to several others, including On Becoming an Architect: A Memoir(2014), Thirty Houses, 1960-2012: Selected Residential Works of Architect Frank Welch(2015), and his essential work on another iconic American architect, Philip Johnson & Texas (2000). He also served as adjunct faculty at various institutions – Rice University, University of Houston, University of Texas at Arlington and University of North Texas – and received accolades throughout his career, including the John Flowers Award in recognition of his writing and the Medal for Lifetime Achievement from the Texas Society of Architects, and Welch was the first recipient of the O’Neil Ford Medal for Design Achievement.
The Frank Welch Architectural Collection at the Alexander Architectural Archive presents the history of Welch’s firm spanning a period of over 50 years of practice (1959-2012). The university received the initial donation of materials for the archive in November 2011, consisting of research and reference materials (manuscript and photographic) and oral interviews pertaining to Welch’s book Philip Johnson & Texas (2000). Another, considerably larger donation was received in May 2012.
Currently processed materials indicate that the collection includes 150 linear feet of manuscript and photographic materials, 649 rolls or drawings (approximately 29,000 sheets) and approximately 10,000 slides of architectural projects. Most of the manuscript materials (ca. 1960-2010) are project files – or client files – and specifications. Professional papers include original research and writings, correspondence, clippings, association and committee papers, jurying and teaching materials and award entries. Office records are represented by business correspondence, phone message and work order books, and reference files. These include information on other architects and firms as well as architectural, landscape, and decorative resources. Personal papers are limited almost exclusively to correspondence.