Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.
Zines have long been a medium for weirdos, freaks, and outcasts on the margins, which means they’ve been a staple of queer expression. The Queer Zine Archive Project (QZAP) has been digitizing and preserving queer zines for twenty years!
First of all, what are zines? Zines are DIY publications, usually staple-bound and made with printer paper. They’re cheap and easy to produce, and most zine makers give them away for free or sell them at low prices to recoup costs. This allows them to bypass mainstream publishers, so zines are often a medium for marginalized and radical voices.
Zines developed out of Science Fiction fan culture in the 1930s. In the 1970s, the onset of photocopying technology coincided with the rise of punk music. Punk fans (who often overlapped with Sci-fi fans) latched onto zines as a way to write about their favorite bands, share stories, and build community. As such, zines have always been a venue for outsider expression and radical politics. In the 1990s, feminist and queer zine makers really took hold of the medium. Punk communities might have been made up of outcasts, but they weren’t immune to misogyny and homophobia. Women and LGBTQ punks experienced marginalization and discrimination within their scenes, and zines provided a much-needed space to voice these experiences and find other like-minded queers.
So a project like QZAP is pretty revolutionary! This searchable database is run by a collective based in Milwaukee, Wisconsin, and it is and will remain free and open to use. QZAP’s goal is to create a “living history” so they continue to accept new submissions from contemporary queer zine makers. They hold a broad definition of “queer,” too, recognizing that identities and language change over time. Zine makers submit their physical zines to QZAP, and collective members, usually librarians, archivists, scholars, and graduate students, scan the zines and create the metadata. Like zines themselves, QZAP is a DIY enterprise!
QZAP’s homepage features a rotation of different zine covers. This featured zine is about the representation of Black Lesbians in the Lesbian Herstory Archives.
QZAP allows users to browse zines, which is one of my favorite ways to explore their collections. With so much interesting and obscure content, browsing QZAP’s collection is a fun, serendipitous experience. QZAP also has an Advanced Search option for users to find zines by author, place of publication, or year of publication. I’ve used QZAP when working with Women’s & Gender Studies classes so students can see a broad set of queer zines over time. While the website’s look and feel are pretty simple and the technology is a bit dated, students respond enthusiastically to the content. I think QZAP’s simple design and stable technology have made it a sustainable project, especially because it is run by a volunteer collective independent of a university or institution.
Here’s a screenshot of a digitized zine and its metadata record in QZAP. I like that the metadata is so prominent next to the digital object.
One of my favorite things about QZAP is that it uses a specialized metadata schema just for zines called xZINECOREx, based on the more common DublinCore schema. Cataloging and describing zines are challenging. They often don’t have a title page with publication information. Sometimes no author or creator is listed, or the author goes by a pseudonym. Maybe they have a publication date, but often they do not.
A sample record using the xZINECOREx metadata schema.
Given these complexities, libraries and archives handle describing zines in all sorts of ways. The xZINECOREx schema provides a standard that can be used across institutions and by independent projects like QZAP. QZAP contributes metadata from its collection to the Zine Union Catalog, which aims to be a single place to search for zines across multiple libraries, archives, and independent collections. Because zines are ephemeral, this catalog is a great resource for scholars interested in the history of zines.
A digital collection like QZAP is vital to preserving the history of these rare, hard-to-find publications, yet there remains great value in studying physical zines. The physical objects provide the reader with a unique, tactile experience. This is especially important for LGBTQ+ history, which is so often erased or hidden. Reading a personal, first-hand account from a queer punk in the 90s – from the actual paper zine that person made by hand – is visceral and powerful. It’s an experience hard to replicate in an online setting. If you find QZAP intriguing, I encourage you to stop by our Zine Collection on the 5th floor of the Fine Arts Library. Our collection has many queer zines, including many published in Texas, and dates back to the 1990s.
Want to learn more about zines? Check out these resources:
The University of Texas Libraries is collaborating with other local heritage institutions to highlight the contributions of Black historians to the study of antiquity.
“Black Classicists in Texas” is a free public exhibition, celebrating the life and work of classicists of color in Austin and Central Texas. In 1900, Reuben Shannon Lovinggood, the Chair of the Greek and Latin Department at Wiley College in Marshall, Texas, made an impassioned argument against those who minimized the value of liberal education, especially Classics, for Black people. In the same year, Lovinggood became the first president of Samuel Huston College (now Huston-Tillotson University), and a pillar of the Austin Black community.
But he was not the only one.
The exhibition tells the story of Central Texas’ early educators of color and their passion for the study of antiquity. Explore images, archival materials, interviews, and current scholarship to find out more about Lovinggood, L.C. Anderson, H.T. Kealing and their vibrant community of scholars, students and public intellectuals. Learn about Classics and its place in historic debates on Black self-determination, and find out more about classical education in Austin today.
This exhibition is a collaboration between the Department of Classics at the University of Texas at Austin, University of Texas Libraries, the Black Diaspora Archive at the LLILAS Benson Latin American Studies and Collections, the Downs-Jones Library at Huston-Tillotson University, and the George Washington Carver Museum and Cultural Center.Visit the three exhibition sites at the Benson Collection at the University of Texas at Austin, Huston-Tillotson University, and the Carver Museum.
For more information on the exhibitions, including a self-guided tour and additional resources, visit the Black Classicists in Texas website at https://bcatx.org/.
“Black Classicists in Texas” will be on view through December 22, 2023.
Over the past year, Adriana Cásarez, U.S. Studies and African Studies Librarian, played a key role in coordinating the “Black Classicists in Texas” exhibition project, and worked in partnership with Libraries’ colleagues Rachel E. Winston, Dr. D Ryan Lynch, Dr. Lorraine J. Haricombe, Shiela Winchester, Mary Rader, and Aaron Choate.
Next year, I’ll have been a librarian for 10 years, and there are many things that I’ve come to learn and appreciate in my time in the profession. I’m a subject specialist, the liaison librarian for Middle Eastern Studies at UT Austin. I manage library services for researchers interested in the Middle East as well as collections from or about the Middle East. I also coordinate services and collections for the History department. Both roles have allowed me to consider and question the boundaries that researchers and librarians alike have maintained regarding the types, priority, and value of library collections, particularly our physical collections. While all cultural heritage has value, it is usually what we call special collections or rare books that are the most highly prized. They tend to cost more, there are fewer of them, and they require special handling because of their age and/or material. Special collections are often stored in a separate and distinct space, served by dedicated and highly trained personnel, and permitted for use in controlled circumstances. What happens, however, when a valuable, rare item is kept in the regular stacks of the library’s general collections? How did it get there and why would a librarian keep it there? I want to explore these questions with two examples from the Middle East collections at UT Libraries that have allowed me to design new approaches to teaching and learning with the special collections in our stacks.
Dale J. Correa reviews the holdings at Turkish vendor Librakons in Istanbul.
In summer 2022, I had the honor to represent UT Libraries on an acquisitions and networking trip in Istanbul and Ankara, Türkiye. I met with a private collector in Istanbul, to whom I had been introduced by one of our regular Türkiye vendors, and purchased a number of titles in Arabic that had been published in Egypt. (It is perhaps curious that I’d go looking for Arabic in a country where the principal language in Turkish, and I’ve written about how and why I do this here.) One of those titles was al-Fath: Sahifah Islamiyah ‘Ilmiyah Akhlaqiyah, an intellectual journal circulated in the early 20th century. This journal is a crucial, backbone source for the intellectual, political, and legal history of the Middle East. It covers a variety of topics, including modernist Islamic thought, modern Egyptian history, Arabic language, British colonial history, Palestine and Zionism, Ottoman history, ethics, and the moral landscape of early 20th century Egypt. It is often cited by intellectuals of its time period (indicating its contemporary import), but it’s not widely available for research consultation in North America . Although North American scholars—including several at UT Austin in the departments of Middle Eastern Studies and History––have seen this title cited, and desired to consult the periodical themselves, many have been unable to do so. Only three North American institutions, including UT Austin, can claim to have a complete copy, while a handful of others have some volumes but not others. Considering the journal was published from 1926 – 1948, such spotty coverage is often inevitable. Additionally, al-Fath has not been digitized (which runs contrary to the growing researcher expectation for the digital availability of such essential materials).
When I brought al-Fath to the UT Libraries, I knew there would be a significant community of interest around it and that it would be an ideal locus for scholarly exchange. I partnered with Dr. Samy Ayoub (Department of Middle Eastern Studies and the UT School of Law) to prepare and host a reading workshop on al-Fath for faculty and graduate students in January 2023. Over the course of the fall semester, the UT Libraries’ Content Management department was able to complete the description and processing of al-Fath, getting it into the stacks in record time for researchers. This gave Dr. Ayoub and me time to prepare for the workshop with the help of Dr. Ahmad Agbaria (the Schusterman Center for Jewish Studies), who specializes in 20th century Arab intellectualism. While these two faculty members selected passages and legal cases for workshop attendees to read and interpret, I prepared a display of contemporary periodicals from our collections to provide greater context and comparison for al-Fath.
The book display at the al-Fath workshop.Dr. Samy Ayoub introduces the workshop.Workshop attendees use an iPad as a document reader, sharing their text on the screens of the Learning Lab.
At the one-day workshop, faculty and graduate students with advanced reading knowledge of Arabic came together to unearth the treasures of this periodical for a new audience. Dr. Ayoub introduced the conceptual framework of the workshop and the thinking behind the selection of passages to read. Dr. Agbaria provided an excellent introduction to the scholarship of the period and the biography of al-Fath’s founding editor, Muhibb al-Din Khatib. I took the attendees through the acquisitions process for this title and introduced contemporary works from our collections, demonstrating the great company that al-Fath keeps in the stacks. These titles include Akhir Sa’ah, al-Qiblah (another journal edited by Khatib),Jaridat al-Balagh al-Usbu’i (a selection of which is now part of UT Libraries’ Digital Collections), and al-Muqtataf. We then spent the morning reading passages together, taking turns leading the discussion. For the afternoon session, we divided into small groups to read reports of legal cases and then share out our analysis with the others.
The magazine Akhir Sa’ah.Dr. Hina Azam works with Middle Eastern Studies graduate students.Middle Eastern Studies and History faculty consult on a text together.
The workshop’s attendees walked away with a greater understanding of 20th-century Arab scholarship and legal thinking, and intimate familiarity with a (new-to-them) text that they can use in their teaching and research. Even faculty who have been with the university for most of their careers learned from the introductions and book display about materials helpful for their research that they hadn’t known were in our collections. The graduate students had the essential experience of close-reading a text in Arabic, which is a skill that they will need for their thesis and dissertation research . In many ways the workshop followed a classic philological approach by focusing on reading a text. However, through collaboration, and by combining the expertise of scholars 1) in a range of fields within the discipline of Middle Eastern Studies and 2) of different experience levels, we were able to read al-Fath in its own context, building the bigger picture against which to lay our understandings of discrete intellectual and political trends.
Banking on Ephemera
Before the pandemic, I began accepting donations of Middle East banking and finance materials: pamphlets, brochures, reports, and guides. These formats are the kind usually produced only once as an annual bank report, or a visitor’s guide to a financial institution that would’ve been updated regularly (and the outdated copies destroyed). For their impermanent nature, they are known as “ephemera” in the library world. They are inherently rare, as they were produced only once and in limited numbers. On top of that, most people would probably dispose of such materials in their personal possession. Think about the last time that you visited a tourist site and received a map or brochure––did you keep it? If you did, had it been folded or creased, beaten up at the corners from use? To find such materials at all, and then to find them in pristine condition, is rare indeed. I am sincerely grateful to the donor, UT Austin Emeritus Professor of Government Clement Henry, for his generous gift, which has made UT Libraries a destination for research on Middle East banking in the 20th century.
The Middle East Banking exhibit in the PCL Scholars Commons (relocated to the UFCU room).A close-up of the bank reports in the Middle East banking exhibit.
In accepting the gift of these materials, I recognized that they would be something to advertise widely to increase their accessibility. The UT Libraries’ Digital Stewardship department created superb images of some of the donated materials, as well as of some of our existing Middle East bank-related holdings, which I was able to turn into a digital exhibit. I also had the opportunity to build a physical exhibit in the Perry-Castañeda Library Scholars Commons, which was on view from November 2022 – March 2023. The physical exhibit featured some materials from the digital exhibit, and a number of other items that are better appreciated in person. One of those items is a map of the Turkish Central Bank branches and country infrastructure in the Central Bank’s 1955 annual report. A bank report is probably not the first place a researcher would think to find a map of Turkish financial and transportation infrastructure, which is why I wanted to highlight these materials for researchers at all levels of experience. My role as librarian is to make critical connections between researchers and the materials that will make a difference for their scholarship, and my day-to-day observations from our collections are essential for that work. The digital and physical Middle East banking exhibits were ways that I could demonstrate the scholarly utility of ephemeral, often neglected materials such as these.
Poster advertising the exhibit launch lecture with Dr. Clement M. Henry.
To honor the launch of the exhibits and the efforts of Dr. Henry to donate his incredible personal research collection to UT Libraries, the UT Libraries hosted a lecture by Dr. Henry titled, “Banks in the Political Economies of the Middle East and North Africa.” I sought to build upon the exhibits and Dr. Henry’s lecture by holding two “study hours” in the days preceding the main lecture event. Partnering with faculty in the Department of Middle Eastern Studies, I brought two advanced undergraduate courses into the Perry-Castañeda Library Learning Labs to physically engage with our Middle East banking collection. I pulled a selection of materials that I hoped would be fascinating and created an exercise for the students to do in small groups. A tangential benefit of the Middle East banking collection is that it is in English, French, Arabic, Persian, and Turkish, and comes in a variety of formats from monographs to pamphlets to serial reports. There’s a little something for everyone, and language does not need to be a barrier to understanding. This was the intention of the original authors of the bank reports and pamphlets, of course, who sought to broaden the investor base of their institutions.
As primary sources, these materials represent a period of rapid change and interaction with the conceptualizations and implementations of the term “modernity.” Students in two very different courses on the contemporary Middle East were able to handle these rare and special ephemera and consider such issues as: choice of language(s); paper quality; color versus black and white images; length; frequency of publication; and choice of topics covered in the material (some of which were quite political). At a time when many students engage with library collections in a primarily digital form, and often with secondary sources that may only summarize the primary essence of the research, these study hours became precious moments for students to connect with the different, unfamiliar medium of ephemeral print and determine for themselves what it signifies to have access to these materials.
Keeping Special in the Stacks
So what happens when a valuable, rare item is kept in the regular stacks of the library’s general collections? It gets used and appreciated. Researchers access it more readily, students can stumble upon it while working on a term paper, and the item itself remains in a context of similar and complimentary works. It adds value to its shelf and stacks row and makes exploring the floors of the university library that much more interesting. There is almost no barrier to access, particularly in the public university environment of UT Libraries, and so even the most novice of researchers has a chance to benefit from this material. As Middle Eastern Studies Librarian, I intend to keep adding special and rare materials to our collection, not simply or only as a means of distinguishing the UT collection from others, but also because it is possible and currently a beneficial practice to make these materials available to all researchers who walk in our doors. I believe that the value of these items exists in the perceived tension between their rarity and their easy physical access, and I ask readers of this blog post to reconsider the hierarchy of rare and general collections.
Dale J. Correa, PhD, MS/LIS, Middle Eastern Studies Librarian & History Coordinator, University of Texas Libraries
Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.
As a librarian, I can’t help but love a good bibliography.
The first professional book I purchased after getting my first bibliographer job was Maureen Patterson’s South Asia Civilizations: a Bibliographic Synthesis. Over the course of many years, Patterson, the former Bibliographer of the South Asia Collection at the University of Chicago, enlisted the help of a small army of graduate students and library staff to identify and succinctly document citations of scholarly books and articles organized in the ways that academics think. Arranged by broad chronological and thematic categories, Patterson’s Bibliography was a life-saver for me while in graduate school. Whenever I ventured into unknown territory as a grad student, the Bibliography was the perfect launching pad, giving me recommendations to begin learning. Since then, as a librarian often called upon to help people in areas less familiar to me, I’ve turned to Patterson’s Bibliography over and over to learn, explore, and discover. My personal copy, now tattered and torn but always with lots of post-it notes and flags pointing me to particular areas, reveals just how helpful this work has been to me.
Author’s personal copy of South Asian Civilizations
And yet, as a print source, published only once in 1981, it is dated. Not just in terms of content—the way we think about South Asia has certainly changed since 1981!—but also in terms of its static functionality. Bibliographies are essentially curated lists of citations, that is, of metadata (“data about other data”). The intersection of online metadata and citations, namely in and through tools such as citation managers such as Endnote, Procite, RefWorks, and Zotero, is fertile digital humanities ground wherein we can learn about new subject areas.
For example, I recently learned of a new bibliography for the study of legal history, the Indian Princely States Online Legal History Archive, or IPSOLHA. IPSOLHA takes up the challenge of complex histories from the colonial period when there were “hundreds of semi-sovereign, semi-autonomous states across the South Asian subcontinent. Varying in size and authority, these states (sometimes referred to as native, feudatory, or zamindari states) were incubators for innovative legal, administrative, and political ideas and offered a unique counterbalance to the hegemony of British rule. Yet despite their unique history, studying these states is complicated by the scattered nature of their archival remains.” IPSOLHA’s intervention is to use the tools of the digital humanities “to build a database and collection of references to facilitate historical study of these states, with a special focus on their legal and administrative history.”
Example of entries re: Princely States from Patterson’s Bibliography
Main collection of IPSOLHA, with options for sorting, display and visualization
Like Patterson’s Bibliography, IPSOLHA is built upon student labor to investigate and document publications; but unlike Patterson, IPSOLHA has used the dynamic citation manager tool, Zotero, to gather relevant references from both online and analog resources which are then uploaded into a database. The database sorts and presents the references in static thematic categories, but also in ways that can be determined by the researcher, including by type, language, location and more. At the time of this writing, IPSOLHA is primarily a discovery tool (like Patterson), but in time, the hope is that the discovery will lead to digitization projects and more online full-text access for researchers.
Display from IPSOLHA of Gazetteers
IPSOLHA is a fabulous place for both beginner researchers to get started, but also for more advanced scholars of princely India to find hitherto unknown source materials. I encourage all to dive in and explore the possibilities.
The Fellows, led by book historian Allie Alvis, worked together from across the U.S. to tell stories about the archival materials in their collections and how those stories can prompt thinking about counter narratives in professional practice.
The University of Texas Libraries’ Liaison for Middle Eastern Studies Dale Correa and Black Diaspora Archivist Rachel Winston are contributors to the project.
The podcast episodes, which are now all available, include:
The Nettie Lee Benson Latin American Collection is proud to host the 21st Annual ¡A Viva Voz! Celebration of U.S. Latino/a/x Culture, featuring a conversation with Chicana/Tejana artist Santa Barraza.
Santa Barraza, courtesy Juan Johnson Lopez
A native of Kingsville, Texas, Santa Barraza is a contemporary artist and founder of Barraza Fine Art, LLC, a gallery and studio committed to furthering the appreciation of the visual arts in the borderlands and among isolated, rural populations.
Barraza’s artwork is in the permanent collections of museums in Texas, California, and Maine; the Smithsonian Institution in Washington, DC; France; Germany; and Spain. Most recently, her work is on view in the art museums of Denver, Albuquerque, and San Antonio as part of Traitor, Survivor, Icon: The Legacy of La Malinche; the Mexic-Arte Museum in Austin for Chicano/a Art, Movimiento y Más en Austen, Tejas, 1960s–1980s; and for the Art in Embassies exhibition organized in Mexico City by the U.S. Department of State and U.S. Ambassador to Mexico Ken Salazar.
The ¡A Viva Voz! event also marks the opening of the exhibition Legacies of Nepantla: Artists Affirming Identity and Existence, curated by Maribel Falcón, the Benson’s U.S. Latina/o/x Studies Librarian. The exhibition showcases work that is part of the Benson’s archival holdings. It will be on view in the Benson’s Ann Hartness Reading Room through mid-August 2023.
“The exhibition showcases work from women whose myriad identities include Chicana, Native American, Tejana, and Latina, in addition to mothers, sisters, organizers, artists, activists, teachers, and students,” said Falcón. “Many of the featured artists are established as leaders in their communities and recognized as pillars of the Chicano/a art world, such as Santa Barraza, Carmen Lomas Garza, Patssi Valdez, Yreina D. Cervántez, Ester Hernandez, Irene Pérez, and Alma López.”
Due to an event at the Moody Center, parking is limited. We encourage attendees to use alternative forms of transportation. City of Austin street parking is available on Dean Keaton and on Red River north of Clyde Littlefield.
This event is free and open to the public. For more information, contact Susanna Sharpe.
Image: Cihuateteo con Coyolxauhqui y La Guadalupana, Santa Barraza, 1996
Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.
While digital, machine-readable texts in Arabic are growing in their availability, certain genres of writing and scholarship in Arabic have become more readily accessible than others. Among those more obscure disciplines are Sufism, theology (Muslim and Christian), and philosophy. These tend to be theoretically complex, and even dogmatically challenging, disciplines that are not as well represented in North American Islamic Studies programs as literature or Qur’anic studies. The Nuṣūṣ corpus––a project led by Antonio Musto––seeks to fill in some of the desiderata by putting more texts from these essential disciplines up on the Internet for researchers to use.
A project that began with an almost exclusive focus on Sufism, Nuṣūṣ has expanded to include works from a variety of complex disciplines of Arabic-language scholarship produced by Muslims and Christians. The corpus currently contains 61 machine-readable texts, with plans to add more and to make the text files available for download. Differing from other, larger corpora of Islamicate[1] disciplines, Nuṣūṣ provides the bibliographic information for the modern editions from which these digitized texts are derived. This is not only a responsible move, but a useful one for researchers: modern editions of historic texts can differ greatly; comparing modern editors’ approaches to the text and their choices that affect meaning and understanding is therefore rich area of exploration in Arabic-language digital humanities. It is hoped that––as possible––Nuṣūṣ will start to add multiple editions of historic texts in order to facilitate this comparative work.
Nusus’s “Browse Corpus” page.
Nuṣūṣ’s aspirations lie in providing researchers with an adequate corpus from which to do computational text analysis. To that end, the team has created several different ways for researchers to access and engage with the texts. The “Browse Corpus” feature gives researchers an accurate sense of which specific items are included. If one is looking for a particular author or text, this would be the list to consult. This is also where crucial metadata (information about the item) is located, such as the origin of the digital images (Nuṣūṣ’s own OCR process or the OpenITI project repository), the internal corpus text ID, the date of the historic text’s alleged composition, the discipline, the genre of writing, the title, and the author. Author names link to biographies from the Encyclopaedia of Islam, and titles link to the WorldCat record for the modern edition used in the digitization of the text.
Performing a search for the exact term “عقل” in the Nuṣūṣ corpus.
Furthermore, the Nuṣūṣ team has provided a cross-corpus search tool. Researchers can build a search using the provided fields and Boolean operators (AND, OR), and can specify whether they are searching for an exact term. It is also possible to confine the search to specific titles, authors, or genres. This arrangement encourages researchers to pursue projects that might compare across a scholar’s oeuvre, across a genre of writing (Muslim theology, philosophy, Sufism, or Christian theology), or across a single text. Researchers could use this tool to construct searches across known networks of scholars, as well. As the corpus expands, the ability to conduct searches and collect the resulting data will become increasingly effective and useful.
Readers interested in text and corpora analysis should consult the UT Libraries’ Digital Humanities Tools and Resources guide for more information on methods to apply to corpora like Nuṣūṣ. For recommendations of other corpora that might be useful for your research, consult the Data Set list on the Text Analysis guide. Lastly, as the Nuṣūṣ corpus partners with and derives from the OpenITI repository, it is worth considering the OpenITI repository documentation at the KITAB project. Happy corpus hunting!
Dale J. Correa, PhD, MS/LIS is Middle Eastern Studies Librarian andHistory Coordinator for the UT Libraries.
[1] The term Islamicate was coined by Marshall G.S. Hodgson in volume 1 of his The Venture of Islam (p. 57).
The Black Diaspora Archive (BDA) at The University of Texas at Austin documents the Black experience in the Americas and the Caribbean through the voices and stories of those who have championed the Black spaces that we use and benefit from today. Diaspora is defined as the “dispersion of any people from their original homeland,” and often when evoked with the Black experience in America, means the historical movement and displacement of Africans from their native homeland.
For the Black community in Austin, diaspora is a much more recent and closer-to-home event as its established Black communities are under threat of disappearing. Through the use of oral histories, the John S. and Drucie R. Chase Building Archive tells the story of the herding of the Black community into East Austin, the Black establishments and schools that grew during this time, and the subsequent displacement that has occurred in recent times. While much has changed for the Black community in East Austin, one building has stood in service of its community while enduring its own share of transformation.
Image used to herald the opening of the newly renovated Chase Building
The building at 1191 Navasota Street in East Austin was built in 1952 to house what was then the Colored Teachers State Association of Texas (CTSAT). The CTSAT commissioned the building to serve as its headquarters and tapped John Saunders Chase as the architect to design the building. Chase was the first African American to graduate from the University of Texas at Austin’s School of Architecture and first to become a licensed architect in the state of Texas. The building that Chase designed would serve the CTSAT for 14 years before the association voluntarily dissolved in 1966 to merge with the Texas State Teachers Association. In 1968, the building was purchased by Dr. Ella Mae Pease and would become the House of Elegance. Now a beauty salon, the building served as a social hub for Black community in East Austin and a focal point for social events that Pease would facilitate. During its time as the House of Elegance, the building was added to the National Register of Historic Places.
The House of Elegance pictured at the end of its reign
After decades of service, the building was purchased in 2018 by the University of Texas at Austin and christened the John S. and Drucie R. Chase Building. Dr. Suchitra Gururaj, Assistant Vice President for Community and Economic Engagement, explains the decision to purchase the building:
“The idea for renovating the building came about in 2017, when House of Elegance owner, Pearl Cox, decided to sell the property. Former UT President Greg Fenves saw an opportunity to bring prominence to the university with the purchase of the first property designed by John S. Chase, the first Black/African American graduate of UT’s School of Architecture. When the purchase was made, we proposed that the space be repurposed as our next Center for Community Engagement (CCE) of the Division of Diversity and Community Engagement (DDCE). We consider the CCE to be the ‘front porch’ of our university, inviting community members and residents to connect with a large, decentralized, and often intimidating university that has not always welcomed people from diverse communities. In re-creating the Chase Building, we were not only able to celebrate Mr. and Mrs. Chase’s legacy but also to create a new life for the building that represented the intersection of diversity and community engagement. Like successful community engagement practice, our process of renovation was also collaborative, drawing on the mentorship of Donna Carter and relying on the expertise of Dorothy Fojtik and Nathan Goodman at UT Project Management and Construction Services. Over the period of the renovation, the project transformed from a simple university construction project into a true labor of love.”
Donna Carter, the first African American woman to become a licensed architect in Austin, led the effort to renovate the Chase Building. In 2022, the Chase Building reopened as the base for the Center of Community Engagement (CCE). This department within UT’s Division of Diversity for Community Engagement works to deploy university resources to foster connections with the community and meet community needs. In an effort to document the change that the Chase Building and East Austin have undergone over the years, the CCE began to conduct interviews with community members in 2019 and 2020 centering around the Robertson Hill neighborhood, the area that was home to the building. This project was advocated for by the Robertson Hill Neighborhood Association, which also suggested community members to interview for this project. The product of these interviews is the collection of oral histories and photographs that make up the John S. and Drucie R. Chase Building Archive. Housed in the BDA’s archival collection, these oral histories cover a range of topics including education, churches, and race and the City of Austin.
Archival photograph depicting a class from Blackshear Elementary
The Chase Building Archive consists of nine interviews with members of the East Austin community who have witnessed the change in the area. In her oral history, Mrs. Patricia Calhoun reminisces about growing up in the Robertson Hill neighborhood. She speaks about the streets that she grew up on that still remain today and the establishments in the community that do not. When talking about the importance of Black stories, Calhoun states, “Our stories are important to us because we’ve been here for generations, and yet the community is changing so rapidly that we could be erased without a thought.” This sentiment about the transformation of East Austin and the diminishing presence of its original community is observed throughout the collection. Mr. Clifton Vandyke Sr. jokingly remarks during his interview that “if we aren’t careful, this will be just like visiting a museum where people will come and say this is where African Americans used to live.” These quotes can be found on one of the four curated vignettes, “Storytelling and History,” that weave together common themes found throughout the assorted oral histories.
Mr. Clifton Vandyke Sr. seen through the camera lens during his oral history interview
Another vignette that can be found in the collection revolves around education and its importance with the community. Memories of attending schools like Blackshear Elementary School, Kealing Middle School, and Huston-Tillotson University testify to the many outlets available for education and the community’s pursuit of it. Ms. Lydia Moore spoke about the opportunity to choose which school she could attend after desegregation: “We had been told we would be the first group to have that opportunity to go anywhere we wanted to, but that we’d be ready. We need not be afraid. We need not feel inferior. But we would be ready.”
The thirst for education within the community sprouted from wanting not only to survive, but thrive in the world. The sentiment of wanting to thrive in East Austin is shared throughout the collection and can also be found in CCE’s efforts to collaborate with the community from the Chase Building. Stephanie Lang, Director for community-facing programs at CCE, expresses the aim of this collection: “As historic East Austin continues to change rapidly, the amazing legacy of these communities are at risk of erasure. This archive is but one of the many efforts being done to preserve these stories and provide a way for many generations to access, reflect on, and honor this important history.”
Mrs. Vonnye Rice Gardner (right) poses with Stephanie Lang, who worked as the interviewer for the project
Rachel Winston, Black Diaspora Archivist and steward of the BDA, states, “As we celebrate the legacies of John and Drucie Chase, the work of CCE, and the history of the Chase building, it is necessary to also recognize the local community that has made all of this possible. The interviews in this collection offer an incredible glimpse into the lives and experiences of Austinites from historic, Black East Austin.”
The John S. and Drucie R. Chase Building Archive is stewarded by the Black Diaspora Archive and can be accessed through a variety of avenues. The oral histories and photographs can be accessed online via the University of Texas Libraries Collections portal, here. The analog artifacts of the collection have been described in the collection’s TARO finding aid and can be requested in the Benson Latin American Collection’s rare books and manuscripts reading room. For more in-depth history about the Chase Building, visit CCE’s showcase on it and their series of videos centered around the building and its surrounding communities. Collections like the Chase Building Archive provide us the opportunity to learn how Black communities and spaces come about, and warn us about the diaspora that looms with their absence.
Jeremy Thompson is a Diversity Resident Librarian at the University of Texas Libraries.
Whit’s immersion in local music history and performance qualifies him as an authority as he explores and discovers some of the overlooked gems in this massive trove, and so in this occasional series, he’ll be presenting some of his noteworthy finds.
Onetime Band of Horses’ guitarist Tyler Ramsey takes a solo walkabout into deeply-wooded indie folk on The Valley Wind. From the Windham Hill-esque instrumental opener “Raven Shadow” through brooding ballad “1000 Blackbirds,” then on to the Laurel Canyon roots jangle of “Stay Gone” and the post-rock epic closer “All Night,” this collection draws you in to its warm campfire glow and unfolds its sad stories slowly. Ramsey’s reverb-drenched guitars and paper-thin tenor hearken Harvest-era Neil Young, but the songwriting is uniquely his introspective own. If tearjerker “Angel Band” doesn’t put a lump in your throat, check for a pulse.
This groovy compilation from under-the-radar hipster Italian label S.H.A.D.O. Records pays loving tribute to those bubbly analog organ sounds of the Hammond, Farfisa, etcetera, variety. Standout Euro and Euro-inspired tracks from Remington Super 60, Experimental Pop Band, Tony Goddess (Papas Fritas), and L’augmentation get the festive chamber pop party going, while Louise Philippe’s cover of Lennon/McCartney’s “I’m Only Sleeping” is simply divine. Don your finest threads, grab some wayfarers and a pack of Gauloises, and head towards that sunny Mediterranean beach in your mind.
Before all the buzz from their Better Call Saul theme song, U.K.’s garage/soul/rock trio Little Barrie thrilled club crowds and vinyl aficionados alike with their fuzzed-out retro tracks. The vibe is vintage – style and audio-wise – and this four song EP lays out a sampler platter of smoky bluesy treats. The slow and sly backstage funk of “Burned Out” has all the swagger needed for a proper British single, while “Mudsticks” comes across like Link Wray on a Death Valley peyote trip. And so as they say across the pond, “Bob’s your uncle.” What a fine introduction to their debut album We Are Little Barrie this is.
Greenville, Mississippi’s Eden Brent proudly carries forth the banner of boogie-woogie piano blues, all the while mixing in elements of jazz and classic pop. Schooled at the University of North Texas (and even more so on the road with legendary Abie “Boogaloo” Ames), Brent cooks down the musical ingredients of New Orleans, Memphis, and even a pinch of the great American songbook into her own greasy gumbo of groove. Recorded in the Crescent City (with ex-Meter George Porter on bass), the vibe leans more Mardi Gras than Beale Street, but it’s Brent’s Bessie Smith late-night lowdown voice that keeps it all rooted in an earthy Delta mood.
This critically-acclaimed string quartet put the art music world on notice with their debut album, Take the A Train. That Billy Strayhorn classic certainly shines as a title track, and even adds some needed levity to what is a fairly heavy collection. The bulk of the album is fleshed out by Wynton Marsalis’ brilliant avant-garde Creole-themed work “At the Octoroon Balls,” a modern American chamber music ode to Carnival culture. Other pieces foray into world music, further stretching the boundaries of fixed classical genres. On top of all this high level musicianship (and of even more importance), Harlem Quartet was founded by the Sphinx Foundation, a nonprofit promoting music education while working to build diversity in the field of classical music through outreach to underserved communities.
Harold Whit Williams is a Content Management Specialist in Music & Multimedia Resources. A celebrated poet, he is the longtime guitarist for the indie rock band Cotton Mather, and his solo projects include the lo-fi bedroom pop Daily Worker, as well as the retro funk GERVIN.
Read, hot & digitized: Librarians and the digital scholarship they love — In this new series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.
Working at the Nettie Lee Benson Latin American Collection since I began a career in librarianship, I have been fortunate to witness and sometimes participate in various facets of what goes into making the Benson the premiere Latin American collection in the world. The collection has many incomparable features, and depending on a researcher’s interest, they will know the Benson in unique ways from others. For instance, there are those that know the Benson because we hold the papers of Gloria Anzaldúa and Alicia Gaspar de Alba, two groundbreaking Chicana writers. Others will know it because of the Archive of Indigenous Languages of Latin America (AILLA), the digital archive that is a gateway to linguistic preservation and revitalization. Others will know it still because of our wonderful circulating collection, which includes journals, new publications, canonical works, children’s literature, etc. At the Benson we always say that if it exists and is tied to Latin American or US Latinx subject matter, we try to collect it.
One unsurprising aspect of the Benson is our dedication to documenting human rights initiatives. This happens across all of the ways that we do collecting, but I’m thinking specifically about the work that my colleague Theresa Polk and the Latin American Digital Initiatives team do on a daily basis, particularly working with post-custodial partners throughout Latin America to document local, often grassroots struggles.
I couldn’t help but think of her work when I saw a noteworthy digital collection from the University of New Mexico’s esteemed Center for Southwest Research. The collection, “Asamblea de Artistas Revolucionarios de Oaxaca Pictorial Collection,” is described as a “collection of prints, posters, and mural stencils…created by a collective of young Mexican artists that formed during the state of Oaxaca’s 2006 teachers strike.” The strike lasted seven months and turned violent after police opened fire on non-violent protestors representing the teachers’ union. Eventually, various groups forced the police out of the city and set up an anarchist community for several months while unsuccessfully calling for the resignation of then-Oaxacan governor Ulises Ruiz Ortiz. The 127 artworks in this collection reflect this period through themes that include “land rights, political prisoners, government corruption, political violence, police brutality, violence against women, art exhibitions and the nationalization of agriculture and oil.”
Print depicting a caricaturized version of then-Governor Ulises Ruiz Ortiz.
The artwork has been digitized and made available on the site using high-resolution scans. One of the strengths of the collection is that users can see a thumbnail and a brief, but useful description of the document, as shown below.
Then, users can click on each individual item for a larger image with richer metadata. Indeed, another strength of the collection is its metadata. While only in English, it contextualizes the image for a deeper understanding.
Another feature of the digital collection is that UNM’s Center for Southwest Research has worked with the Asamblea de Artistas Revolucionas de Oaxaca (ASARO) to archive their blogs and other digital-born materials using Archive-It. Having access to these blogs in a shared digitize space enhances the collection because it preserves ASARO’s voices on the struggle, using their words and their language. Like the metadata, this creates fuller meaning for researchers while fostering a relationship between ASARO and UNM.
Women played an integral role in the uprising, often taking to the streets with pans.
This collection is useful to researchers and classes who are interested in understanding politics and local movements in twenty-first century Mexico. Like the Benson’s Latin American Digital Initiatives, the themes are so varied, making it a useful tool for classes doing interdisciplinary work, and particularly for scholars who are more visually-inclined. In any case, it is a welcome contribution to the study of human rights in Latin America, and a wonderful reminder of the work that libraries do in documenting and preserving historical moments.
Would you like to know more about the teachers’ strike? Check out the following resources we hold at UT Libraries.
