Category Archives: LLILAS Benson

Students Use Digital Tools to reveal “Hidden” Collection of Pre-Colonial Objects

Nasca bowl with birds

Students in Astrid Runggaldier’s Art and Archaeology of Ancient Peru class were tasked with an intriguing project this spring: take a collection of pre-colonial objects that is, for all intents and purposes, invisible, and make it visible using digital tools. Their efforts have come to fruition with a first-of-its-kind online exhibition titled Ancient Coastal Cultures of Peru: People and Animals at the Edge of the Pacific Ocean.

The objects in question are part of the Art and Art History Collection (AAHC) at The University of Texas at Austin, a collection associated with the Mesoamerica Center and the Department of Art and Art History. Consisting of ancient artifacts, ethnographic materials, and historical objects primarily from the Americas, the collection, curated by Runggaldier, spans approximately 5,000 invaluable objects for research and studious exploration. These rare pieces do not have their own dedicated exhibition space, although since 2017, select objects rotate through the Ancient Americas gallery at the Blanton Museum of Art (see “Mesoamerican Artifacts Highlight Makeover at UT’s Blanton”).

Chimu spout-and-handle vessel with human effigy

Long focused on the need for a virtual museum to showcase the AAHC collection, Runggaldier looked to the field of digital humanities to devise a project with a few objectives in mind. “Approaching this project from a digital humanities perspective could simultaneously serve in the stewardship of the collection, create an educational resource at UT and beyond, and provide an opportunity for students to become involved in learning goals and tools of digital scholarship, as well as museum studies approaches to collection management and curation,” she said.

Nasca vase with trophy head

Enter the LLILAS Benson Digital Humanities Curriculum Redesign Award. The award provides UT faculty and graduate student instructors with dedicated staff support by LLILAS Benson digital scholarship staff along with a grant of up to $250 to cover expenses incurred in the design or redesign of a course with Latin American, U.S. Latinx, and/or African Diaspora Studies content. Runggaldier applied and received the award, which she used to redesign the Ancient Peru class. For this endeavor, she has worked with Albert Palacios, LLILAS Benson digital scholarship coordinator.

Student’s final project, showing object comparisons

Palacios explains that the goal of the LLILAS Benson Digital Scholarship Office is to “introduce digital humanities principles, methods, and special collections meaningfully and with a critical lens” in the redesign of undergraduate and graduate courses. “Through lectures, class activities, individual assignments and group projects, we aim to strike a balance in the knowledge we impart as co-instructors,” Palacios continues, “so that students leave the course with a well-rounded understanding of the subject matter and course content, as well as information literacy and research methods, basic and more advanced digital skills, and knowledge of ethical issues surrounding collection development and use.”

Chimu vessel

First-year student Miguel Belmonte, a neuroscience major, attests to the success of this aim: Before this course, “I had never used or even known about digital scholarship tools. It was a unique experience.”

Nasca objects depicting chile peppers; postcard showing twentieth-century vendor

Students were divided into teams of four for the final project. Each team had to research objects in the UT collection from two different pre-colonial Andean groups—the Chimu and the Nasca. They then had to compare the objects they chose to an object from another museum collection. To provide context for visualizing the environments of Peru, Runggaldier selected images from the Benson’s Hispanic Society of America Postcard Collection, which has been digitized, described, and mapped by School of Information graduate student Elizabeth Peattie, who is the LLILAS Benson Digital Scholarship and Special Collections intern. Three other indispensable contributors to the success of this project were Brianna Crockett, collections assistant and Art and Art History undergrad, who assisted in the compilation and description of digital assets; Katy Parker, Humanities Liaison Librarian for Fine Arts, who provided research support for students throughout the semester; and Nicole Payntar, doctoral student in the Department of Anthropology, who designed assignment grading criteria and rubrics for research and digital project components.

Student slide featuring Chimu objects and thematic postcard

“I truly enjoy seeing the aha! moment in students’ eyes as they figure out how to use open-source digital tools to make their research more dynamic and interconnected,” says Palacios. “For many, the learning curve is steep, so the digital scholarship staff’s role is to help them overcome this. Luckily, we continue to hear that the in-depth and intense experience was worth the challenge!”

Runggaldier and Palacios had originally planned an in-person opening event to celebrate the going live of the online exhibition. Given the current closure of campus due to the covid-19 pandemic, this was not to be. We encourage readers to visit the online exhibition and to share their opinions on social media by tagging @llilasbenson and @UT_AAH and using the hashtag #digitalhumanities.

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More information: Contact Lauren Macknight, Art and Art History, or Susanna Sharpe, LLILAS Benson Latin American Studies and Collections

Digital Preservation and the LLILAS Benson Post-Custodial team

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 four in a series of five. Read part one, part two, and part three.

By DAVID BLISS (@davidallynbliss), Digital Processing Archivist, LLILAS Benson Latin American Studies and Collections @llilasbenson

Over the past decade, LLILAS Benson has undertaken post-custodial archival projects in collaboration with partners throughout Latin America and beyond. Post-custodial archival practice encompasses a range of theory and methodology, built on the premise that digital technologies make it possible for collecting institutions like LLILAS Benson to provide access to archival collections from Latin America without taking physical custody or removing them from their original contexts of creation and use.

The Fondo Real de Cholula digitalization team in Puebla, Mexico. The team creates checksums for all files before sending them to the Benson for processing and preservation.

Through these post-custodial projects, LLILAS Benson staff and partner repository staff work together closely to identify collections of interest, select appropriate digitization equipment, and build metadata collection strategies. The materials are then digitized and described on-site in Latin America by partner repository staff. The digitized collections are then transferred to LLILAS Benson, where they are processed, preserved, and in most cases published online. Because the original collections are often vulnerable or sensitive, frequently touching on delicate human rights issues, long-term preservation of their digital copies is especially important to LLILAS Benson staff and partners in Latin America.

A digital photo of a 1607 document from the Fondo Real de Cholula collection. Digital preservation begins the moment each photo in the collection is taken, to protect the integrity of the digital collection.

In recent years, the LLILAS Benson team has integrated file fixity checks in all post-custodial projects. When launching a project at a partner site, LLILAS Benson staff now teach project team members the basic principles of digital preservation and the importance of fixity checks, which verify that files have not been altered or corrupted over time. The project teams are taught to create and verify checksums prior to transferring a batch of files to LLILAS Benson, using free software available in Spanish or Portuguese.

David Bliss and Dylan Joy, of LLILAS Benson, join scholars, government officials, and others at the Archivo Judicial del Estado de Puebla for the launch of the Fondo Real de Cholula digital preservation project. Photo: Revista el Arca de Noé, June 26, 2018.

These checksums now accompany all file deliveries from project sites, and help the LLILAS Benson team identify corrupted or missing files immediately. These checksums speed LLILAS Benson’s processing and preservation work, allowing the files to be published online and preserved long-term more easily. The checksum workflow also encourages each partner to include fixity checks in any future digitization projects they undertake, thus contributing to the partners’ own digital preservation capacity.

Equipo poscustodial LLILAS Benson

Traducido por Jennifer Isasi (@jenniferisve)

@llilasbenson

Durante la última década, LLILAS Benson ha emprendido proyectos de archivo de tipo poscustodial junto con socios a lo largo de América Latina. La práctica de archivo poscustodial abarca una serie de teorías y metodologías basadas en la premisa de que las tecnologías digitales hacen posible que las instituciones colectoras como LLILAS Benson provean acceso a las colecciones de archivos de Latinoamérica sin su custodia física o su eliminación del contexto original de su creación y uso.

A través de estos proyectos poscustodiales el personal de LLILAS Benson y sus colaboradores trabajan en estrecha colaboración para identificar colecciones de interés, seleccionar el equipo de digitalización adecuado y desarrollar estrategias de curaduría de metadatos. Los materiales son digitalizados y descritos en Latinoamérica por parte del personal de cada archivo para luego ser transferidos al equipo LLILAS Benson, quien procesa, preserva y publica los materiales en la mayoría de los casos. Debido a que las colecciones originales son a menudo vulnerables o con contenido delicado, y frecuentemente tocan temas relacionados con derechos humanos, la preservación a largo plazo de sus copias digitales es especialmente importante para el personal y los socios de LLILAS Benson en América Latina.

El equipo de digitalización del Fondo Real de Cholula, en Puebla, Mexico. El equipo crea sumas de verificación para todos los archivos antes de enviarlos a la Benson para su procesamiento y preservación.

En años recientes, LLILAS Benson ha añadido verificaciones de permanencia de archivos en los proyectos poscustodiales en curso. Con el inicio de cada proyecto en el archivo de los colaboradores, el personal de LLILAS Benson enseña a cada equipo los principios básicos de preservación digital y la importancia de añadir verificaciones de permanencia, que verifican que los archivos no han sido alterados o dañados con el tiempo. Los equipos de los proyectos aprenden a crear y verificar sumas de verificación usando programas gratuitos en español o portugués antes de transferir un conjunto de archivos a LLILAS Benson.

Una foto digital de un documento de 1607 del Fondo Real de Cholula. La preservación digital comienza en el momento en que se toma una foto, para proteger la integridad de la colección digital.

Estas sumas de verificación ahora acompañan todas las entregas de archivos desde el lugar de los proyectos de digitalización y ayudan al equipo de LLILAS Benson a identificar archivos dañados o faltantes de inmediato. Esto acelera las tareas locales de procesamiento y preservación en LLILAS Benson y anima a cada colaborador a incluir controles de verificación en cualquier otro proyecto que puedan emprender en el futuro. Esto a su vez contribuye a la capacidad de preservación digital propia de los colaboradores.

David Bliss y Dylan Joy, de LLILAS Benson, en el Archivo Judicial del Estado de Puebla para el lanzamiento del proyecto de preservación digital del Fondo Real de Cholula. Foto: Revista el Arca de Noé, 26 de junio de 2018.

Equipe pós-custodial da LLILAS Benson

Traduzido por Tereza Braga

@llilasbenson

Durante a última década, a LLILAS Benson empreendeu alguns projetos arquivísticos pós-custodiais, em colaboração com entidades parceiras espalhadas pela América Latina e outros lugares. A prática arquivística pós-custodial engloba uma gama de teorias e metodologias assentadas na premissa de que as tecnologias digitais possibilitam a instituições recolhedoras de coleções, como a LLILAS Benson, disponibilizar o acesso a coleções arquivísticas latino-americanas sem necessidade de obter custódia física ou a remoção das mesmas de seus contextos originais de criação e de uso.

Equipe do projeto de digitalização do Fondo Real de Cholula em Puebla, México. A equipe cria checksums para todos os arquivos antes de enviá-los para a Benson para processamento e preservação.

Por meio desses projetos pós-custodiais, as equipes de profissionais da LLILAS Benson e dos repositórios parceiros trabalham em contato estreito para identificar coleções de interesse, selecionar o equipamento de digitalização adequado e criar estratégias de coleta de metadados. O material é então digitalizado e descrito pela equipe de repositório da entidade parceira em cada local específico da América Latina. Em seguida, as coleções digitalizadas são transferidas para a LLILAS Bensonm onde são processadas, preservadas e, na maioria dos casos, publicadas online. Devido ao fato de muitas coleções originais serem vulneráveis ou sensitivas por causa de referências frequentes a questões delicadas de direitos humanos, a preservação a longo prazo de cópias digitais é especialmente importante para a equipe da LLILAS Benson e entidades parceiras na América Latina.

Uma foto digital de um documento de 1607 da coleção Fondo Real de Cholula. A preservação digital começa no momento em que cada foto da coleção é tirada, para proteger a integridade da coleção digital.

Em anos recentes, os profissionais da LLILAS Benson vêm integrando verificações de fixidez de arquivos em todos os projetos pós-custodiais. Agora, ao lançar um projeto em local parceiro, a equipe ensina às equipes do projeto os princípios básicos da preservação digital e a importância das verificações de fixidez para constatar se os arquivos não foram alterados ou corrompidos ao longo do tempo. As equipes de projeto aprendem a criar e verificar as checksums (somas de verificação) antes de transferir qualquer lote de arquivos para a LLILAS Benson, usando software gratuito disponível em espanhol e português.

David Bliss e Dylan Joy, da LLILAS Benson, no Arquivo Judicial do Estado de Puebla, México, para o lançamento do projeto de preservação digital do arquivo Fondo Real de Cholula. Foto: Revista el Arca de Noé, 26 de junho de 2018.

Essas checksums já acompanham todas as entregas de arquivos oriundos de locais de projetos e ajudam a equipe da LLILAS Benson a identificar imediatamente arquivos corrompidos ou faltando. As checksums aceleram o trabalho de processamento e preservação da LLILAS Benson, permitindo publicar os arquivos online e preservá-los a longo prazo com mais facilidade. O fluxograma de checksums também incentiva cada entidade parceira a incluir verificações de fixidez em qualquer projeto de digitalização a ser empreendido no futuro contribuindo, assim, para a própria capacidade de preservação digital de cada entidade.

Digital Preservation and the Archive of the Indigenous Languages of Latin America

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 three in a series of five. Read part one and part two.

By SUSAN SMYTHE KUNG, PhD, Manager, (@SusanKung), and RYAN SULLIVANT, PhD, Language Data Curator, (@floatingtone), Archive of the Indigenous Languages of Latin America @AILLA_archive

At AILLA, we are developing guidelines for language researchers and activists that are intended to facilitate the organization and ingestion of their collections of recordings and annotations of Indigenous, and often endangered, languages into digital repositories so that these valuable digital resources can be preserved for the future. One of the areas of focus for these guidelines is on the importance of using open and sustainable file formats to increase the likelihood that digital files can be opened and read in the future. To help explain these ideas, we produced a short animated video that is available under a Creative Commons license on YouTube at https://youtu.be/2JCpg6ICr8M.

Screenshot from AILLA. 2018. Sustainable File Types , https://youtu.be/2JCpg6ICr8M, CC-By license.

Many digital documents are produced using proprietary software, and future users will need to have the same, or similar, software to open the files or read their contents. While documents in proprietary formats can be put into a digital repository so their bitstreams (all the ones and zeroes) are preserved well into the future, the exact copy of the file a user downloads years from now may be impossible to use if the proprietary software it was made with is no longer available. Documents preserved in these non-open and non-sustainable formats then end up like cuneiform tablets: objects whose marks and features have survived a long passage through time but can only be read by a small number of people after considerable effort and study.

A group of Cañari leaders leaving a meeting in which they discussed the formation of cooperatives to buy land. Cooperativa de San Rafael, man reading: José Zhinin, secretary, law, Antonio Guamán Zhinin president. Man in the door, José María Pichisaca. Front left, Paolo Guamán. photo right, in blue, Francisco Quishpilema; in red Manuel Guamán. Ecuador, 1968. https://ailla.utexas.org/islandora/object/ailla:259974 Photo © Preston Wilson.

Choosing sustainable open formats helps ensure that materials are not just preserved but are accessible and usable into the future, since open-source applications can be more easily built to read files stored in non-proprietary formats.

Archivo de las Lenguas Indígenas de Latinoamérica

Traducido por Jennifer Isasi

@AILLA_archive

En AILLA (por sus siglas en inglés), estamos desarrollando pautas para lingüistas y activistas con la intención de facilitar la organización e ingesta de sus colecciones de materiales de documentación de idiomas en repositorios digitales para que estos valiosos recursos digitales puedan conservarse para el futuro. Una de las áreas que resaltamos en estas guías es la importancia de utilizar formatos de archivo abiertos y sostenibles para aumentar la probabilidad de que estos archivos digitales puedan ser abiertos y leídos en el futuro. Para explicar estas ideas hemos producido un video animado corto que está disponible con licencia de Creative Commons en Youtube: https://youtu.be/2JCpg6ICr8M.

Captura de video de AILLA. 2018. Tipos de archivo , https://youtu.be/SuAUGDzKTol, licencia CC-By.

Muchos documentos digitales se producen con software propietario y se necesita el mismo software (o un software parecido) para abrirlos o leer su contenido. Es cierto que se puede meter documentos en formatos propietarios en un repositorio digital y sus bitstreams (todos los unos y ceros) serán preservados hasta el futuro, pero cuando el usuario del futuro lo descarga, no existe garantía de que aquella copia fiel sea accesible porque es posible que el software necesario ya no exista. Los documentos así preservados en formatos no abiertos y no sostenibles entonces terminan como tableta escritas en cuneiforme cuyas marcas y figuras han sobrevivido tras el tiempo pero solo son legibles por un pequeño conjunto de personas muy especializadas.

Niels Fock con dos hombres cañari en Tacu Pitina, Ecuador, 1974. https://ailla.utexas.org/islandora/object/ailla:259355 Foto © Eva Krener

Escoger formatos sostenibles y abiertos ayuda a asegurar que los materiales no solo permanezcan sino que estén accesibles y útiles en el futuro ya que será más fácil crear una aplicación de fuente abierta para leer archivos almacenados en formatos no propietarios.

Arquivo dos Idiomas Indígenas da América Latina

Traduzido por Tereza Braga

@AILLA_archive

Na AILLA, estamos desenvolvendo diretrizes para pesquisadores linguísticos e ativistas com o objetivo de possibilitar a organização e inserção de suas coleções de gravações e observações em idiomas indígenas (muitos em perigo de extinção) em repositórios digitais para que esses valiosos recursos possam ser preservados para o futuro. Uma das áreas de enfoque para essas diretrizes é a importância de utilizar formatos de arquivo abertos e sustentáveis para aumentar a probabilidade de que esses arquivos digitais possam ser abertos e lidos no futuro. Para ajudar a explicar essas ideias, produzimos um vídeo curto com técnica de animação, que está disponibilizado sob licença da Creative Commons no YouTube, em https://youtu.be/2JCpg6ICr8M.

Captura de tela de AILLA. 2018. Organizing for Personal vs Archival Workflows , https://youtu.be/iZVACb_ShiM

Muitos documentos digitais são produzidos utilizando software proprietário. Assim sendo, o usuário do futuro terá que ter o mesmo software ou similar para poder abrir os arquivos ou ler seus conteúdos. É viável armazenar documentos criados em formatos proprietários em repositório digital, para que seus bitstreams (todos os uns e todos os zeros) sejam preservados por muitos e muitos anos; por outro lado, é também possível que a cópia exata do arquivo baixado pelo usuário daqui a muitos anos seja impossível de utilizar, se o software proprietário que o criou não esteja mais disponível. Documentos preservados nesses formatos não-abertos e não-sustentáveis podem acabar como as táboas de escrita cuneiforme: objetos cujas marcações e funcionalidades sobreviveram uma longa passagem pelo tempo mas só podem ser lidos por um número pequeno de pessoas após considerável esforço e estudo.

Transcrições de histórias tzeltal na Coleção Terrence Kaufman. https://ailla.utexas.org/islandora/object/ailla:257561 Foto © Gabriela Pérez Báez

A seleção de formatos abertos e sustentáveis ajuda a garantir que certos materiais sejam não só preservados mas também acessíveis e utilizáveis no futuro, considerando que é mais fácil construir aplicações de código-fonte aberto capazes de ler arquivos armazenados em formatos não-proprietários.

Ernesto Cardenal Is Dead at 95: The Nicaraguan Poet, Priest, and Revolutionary Chose the Benson Collection for His Archive

Ernesto Cardenal, the Nicaraguan poet, priest, and revolutionary, died in Managua on Sunday, March 1. He was 95.

Ernesto Cardenal, undated photograph.

Admired and controversial, Cardenal was a towering figure in Central American culture and politics. As Nicaragua’s minister of culture under the Sandinista government, which took power in 1979, he oversaw a national program that taught poetry to Nicaraguans of all ages and all walks of life. 

Ernesto Cardenal Papers, Benson Latin American Collection.

As a priest, ordained in 1965, Cardenal defied the Vatican of Pope John Paul II by embracing liberation theology and joining the Sandinista revolutionary armed conflict. His priestly authority was revoked by Nicaragua’s bishops in 1985. Pope Francis absolved Cardenal of “all canonical censorships” in February 2019.

Ernesto Cardenal Papers, Benson Latin American Collection.

Cardenal’s long and rich life can almost be said to be several lives rolled into one. His spiritual path would take him in the 1950s to Gethsemani, the Trappist monastery in Kentucky, where he met and befriended monk and writer Thomas Merton. In the 1960s, he founded an artistic and spiritual community in the Solentiname archipelago in Nicaragua, where he taught literature and painting. He fought in the Nicaraguan Revolution to depose dictator Anastasio Somoza Debayle, and serving in the Sandinista government, Cardenal left the Sandinista party in 1994 and became highly critical of President Daniel Ortega.

Ernesto Cardenal. Photo: by Sandra Eleta.

In 2016, the Nettie Lee Benson Latin American Collection at The University of Texas at Austin acquired the Ernesto Cardenal Papers, an extensive archive consisting of correspondence, writings by Cardenal, newspaper clippings and writings by others related to Cardenal, photographs, biographical materials, and audiovisual materials. 

Cardenal during his 2016 visit to the Benson. Photo: Robert Esparza.

“We are honored that Ernesto Cardenal chose the Benson Collection as the permanent home for his personal archive. Already, students and scholars from around the globe have been able to consult the materials for their research. We know this accessibility was important to Father Cardenal, and we are committed to the preservation of his life’s work,” said Melissa Guy, director of the Benson Collection.

Virginia Garrard, director of LLILAS Benson Latin American Studies and Collections, and professor of history and religious studies, knew Cardenal personally and has long been inspired by him. “Ernesto Cardenal was a fighter: for justice, against dictatorship, for equality, for his faith, and for the power of art and beauty to shine light in a dark world. He was tireless in this lifelong struggle, striving until his final days for a better Nicaragua and true justice for all people. LLILAS Benson is proud to help to carry on his legacy,” Garrard said. (LLILAS Benson is a partnership between the Benson and the Teresa Lozano Long Institute of Latin American Studies, or LLILAS, established in 2011.)

Cardenal reads his poetry to a packed house at the Benson. Photo: Travis Willmann.

Cardenal visited the UT Austin campus in November 2016 to celebrate the opening of his archive with a poetry reading before a packed house. During his stay, he was also able to view some of the Benson’s archival treasures and visit with students in a more intimate setting. In honor of the Cardenal archive, and of LLILAS Benson’s emphasis on Central American scholarship and collections, Garrard established Cátedra Ernesto Cardenal, which sponsors a yearly symposium on a topic relating to Central America, and funds research visits to the collection.

Cardenal’s connection with the Benson opened the door to unprecedented access to the man himself, and he granted an interview to former Benson librarian José Montelongo in spring of 2016. Excerpts of the interview, in Spanish with English subtitles, can be viewed at Interview with Ernesto Cardenal.

In 2017, LLILAS Benson published Spanish and English versions of a poignant essay by Professor Luis Cárcamo-Huechante, who discusses the impact of Cardenal’s writings on him as a young man growing up during the Chilean dictatorship. (Read “Cardenal in Hard Times” / “Cardenal en tiempos difíciles.”)

Warhol-inspired libro-disco cover. Caracas, 1972. Benson Latin American Collection.

“It is an extraordinary gift that Cardenal’s papers arrive at the Benson Latin American Collection, in Austin, Texas,” Cárcamo-Huechante wrote. “And it is likely that once again, Cardenal’s writings, and the ethical, political, spiritual, poetic, and human voice that resonates in them, will accompany us at these latitudes of the planet, in the hard times that seem to be upon us.”

For more information, contact Susanna Sharpe, ssharpe@austin.utexas.edu, 512-232.2403.

CMAS at 50: A Legacy of Scholarship, Teaching, and Service

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.


Portrait of Dr. Américo Paredes, beloved professor, folklorist, and CMAS director

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.

Information about Dr. Américo Paredes from the CMAS 35th anniversary publication. “35 Years: The Center for Mexican American Studies” was compiled in 2005 by a group of J349T Oral History as Journalism students.

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.

Entrance to the Center during the time when it was housed in the Gebauer Building, then known as the Speech Building. This is one of the earliest photographs of the Center, from the late 1970s.

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.

“Noticias de CMAS” publicized the Center’s special events.

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.

Flyer promoting the CMAS 35th anniversary exhibit in the Office of the President.

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.

The Survival Guide for new African American and Mexican American students, published in 1993, was a collaboration between CMAS and the Center for African and African American Studies (CAAS), now the John L. Warfield Center for African and African American Studies. The Guide was distributed on the UT campus and included articles by students, faculty profiles, information about CAAS and CMAS, a list of Mexican American/Latino and Black student organizations, as well as a directory of minority faculty and staff. Cover art by California artist Malaquías Montoya.

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.

Reflections from World Digital Preservation Day: Introduction

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.

A box of floppy disks, part of an archival collection held by UT Libraries

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.

Cassette tapes to be digitized, containing recordings relevant to indigenous languages

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 preservación digital

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

En décadas 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.


Una caja de disquetes, parte de una colección de archivos de las bibliotecas de la Universidad de Texas

A 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 preservado.

Fitas cassette que contienen grabaciones relacionadas con los lenguajes indígenas, y que serán digitalizadas

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.


Uma caixa de disquetes, parte de uma coleção de arquivos mantida pelas bibliotecas da Universidade de Texas

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.

Fitas cassette com conteúdo relacionado às idiomas indígenas, que serão digitalizadas

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.

Read, Hot and Digitized: South by—The Border Studies Archive at the University of Texas Rio Grande Valley

BY DANIEL ARBINO

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the Libraries’ Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship to encourage and inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.

The Border Studies Archive (BSA) at the University of Texas Rio Grande Valley (UTRGV) has fostered really interesting digital collections of borderlands materials in recent years. These projects include Traditional Mexican American Folklore; Border Wall and Border Security; Border Music; Latinas and Politics; Spanish Land Grants; and Visual Border Studies. Each of these collections offers insight into a vast array of cultural elements that combine to depict life along the U.S.­–Mexico border.

From non-Western healing practices to government documents on border patrol to land grants, the archive seeks to be as encompassing as possible for local community members and scholars conducting research. In fact, many times these cultural processes challenge the notion of a geopolitical border through transnational production like music, folklore, and curanderismo, as many of these elements exist on both sides of the border. Importantly, much of this information is offered through oral histories and video interviews to retain original voices.

UT Rio Grande Valley Border Studies Archive page.

One of the highlights is the BSA’s Border Music Collection, which contains rare regional music that has been donated by scholars and community members alike. This collection recalls local and now-defunct record companies, musicians of yesteryear, and a genre of local music that is threatened by globalization. But music is just one aspect of the collection. It also includes rare interviews with musicians who discuss their life and what influenced their songs. These interviews come via donations and also interviews conducted by the BSA or students in partnership with the BSA. To that end, the BSA contributes to the growth of its own archive by enlisting university students and the community to record these histories with high-quality equipment. The Border Music Collection continues to digitize old records and CDs for an online collection that offers excerpts of the larger collection.

Video interview with Guadalupe Wally Gonzalez on the UTRGV archive’s Border Music page.

Why go to all this trouble? For the curators, this archive builds a sense of community where everyone can learn something new from interacting with members. Perhaps more significantly, it opposes popular U.S. discourse that the borderland is only a violent space in need of heightened security. On the contrary, the archive portrays a vibrant society alive with unique cultural processes and innovation that has the potential to unite both sides of a border divided by “una herida abierta” (Anzaldúa 1987, 3).

Hidalgo County Land Grant Map, UTRGV Border Studies Archive.

Access to the Collections

University of Texas Rio Grande Valley is employing CONTENTdm to showcase these collections. This platform permits the embedding of different types of content, including audio, video, and text. Only some metadata is supplied with certain files, but the user has to dig around to find it; it’s not easily discoverable on the public-facing side of the site. However, the site’s content is fully available in both Spanish and English, an important recognition of the populations being served. Aside from the need for more robust metadata, there remains an opportunity for further digital scholarship that will surely come with time. The Spanish Land Grants section would benefit from additional visual mapping options like CARTO, for example. However, the current interactive map allows users to click on highlighted areas and watch short videos pertaining to the region.  

For music-related materials at the Benson Latin American Collection, please refer to: The Oscar Martinez Papers, Robert P. and Sugar C. Rodriguez Collection of Tejano Music, the Tish Hinojosa Papers, and the Dan Dickey Music Collection For oral histories, please see: Los del Valle Oral History Project and Voces Oral History Project. Finally, for visual renderings of some traditional healing practices, see Carmen Lomas Garza Papers and Artworks.

Citation

Anzaldúa, G.E. (1999). Borderlands/La Frontera. 2nd ed. San Francisco, CA: Aunt Lute Books.

Exhibition: Cuban Comics in the digital Era

Based on exhibition text by Gilbert Borrego

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.

Fidel Castro understood that media and graphic art could guide ideology and could be used as an educational tool because he knew that it had already being used before in Cuba. Castro portrait, “Zunzún” no. 2, 1980. Benson Latin American Collection.

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.

Nikita Khrushchev and Dwight D. Eisenhower on the cover of “Zig-Zag,” no. 1079, August 1959. Benson Latin American Collection.

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 Revolutionary Comics

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.

“Historietas de Elpidio Valdés,” Juan Padrón Blanco, 1985. Benson Latin American Collection.

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.

Julio Mella was among Cuban figures lauded for heroism or espousing socialistic ideals. “[Revolucionarios],” “Mella Suplemento,” no. 60, undated. Benson Latin American Collection.

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.

“Jóvenes Rebeldes,” “Mella,” no. 201, 1962. Benson Latin American Collection.

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.

About the Curator

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.


Cuban Comics in the Castro Era will be on view in the Benson Latin American Collection main reading room, December 6, 2019–March 1, 2020.

Read more about the Caridad Blanco Collection of Cuban Comics in LLILAS Benson Portal.

LLILAS Benson colabora en línea para la transcripción y traducción de documentos coloniales

Por Albert A. Palacios, Jenny Marie Forsythe y Julie C. Evershed

Read in English.

Aviso: La colección FromThePage de la Benson estará abierta para la transcripción y traducción colaborativa hasta el domingo 3 de noviembre de 2019. Consulte la lista de documentos y el guía para ver cómo puede ayudar.

El 21 de septiembre de 2019, LLILAS Benson y el Museo de Jazz de Nueva Orleans se unieron para hacer sus colecciones coloniales un poco más accesibles. Las dos instituciones coordinaron un evento conjunto de transcripción que convocó a miembros de la comunidad en persona en el Centro de História de Louisiana, y de forma remota a través de la página de Facebook de la Benson. Colaborativamente, los participantes transcribieron manuscritos españoles y franceses originales de 1559 a 1817, con el objetivo de hacer que estos documentos sean más útiles para profesores, estudiantes, investigadores e historiadores de genealogía.

Interfaz de transcripción de FromThePage, https://fromthepage.lib.utexas.edu/llilasbenson.

FromThePage, una herramienta para la transcripción, traducción e indexación, permitió la colaboración a larga distancia. Durante un período de tres horas, los participantes hojearon la lista de manuscritos en ambos archivos y trabajaron juntos para descifrarlos y transcribirlos en la plataforma digital. Al punto intermedio del evento, el personal del Museo de Jazz nos mostró unos casos coloniales únicos en su archivo, transmitiendo en vivo a través de su página de Facebook, incluyendo una declaración de emancipación montada en tela dada a un hombre jamaicano llamado Santiago Bennet. Siguiendo su ejemplo, el personal de Estudios Digitales de LLILAS Benson (LBDS) compartió a través de la página del evento en Facebook algunos materiales notables de la Benson, incluyendo la colección digital de Relaciones Geográficas de Nueva España.


Personal del Museo de Jazz trabaja con colaboradores de transcripción en el Centro de Historia de Louisiana, 21 de septiembre de 2019. Cortesía del Museo de Jazz de Nueva Orleans.

Al transformar las palabras de los notarios coloniales en formato digital, los estudiantes, investigadores y miembros de la comunidad estaban avanzando una larga iniciativa digital del Museo de Jazz y del Centro de História de Louisiana. A principios de la década de 2010, el Museo y el Centro, junto con muchos otros colaboradores de la comunidad, lograron la increíble hazaña de digitalizar unas 220,000 páginas de registros notariales de Louisiana colonial para crear una colección digital, www.lacolonialdocs.org. Jennifer Long, Michelle Brenner y Jenny Marie Forsythe, administradoras del proyecto “Transcribathon de Documentos Coloniales de Louisiana,” seleccionaron de este rico recurso para crear la colección FromThePage del museo, revelando detalles sobre la esclavitud, auto-liberación y rebelión, parentescos, redadas piratas, medicina colonial, fiestas de juego, disputas de herencia, conflictos matrimoniales y mucho más.

Pintura del Pueblo de Tepatepec contra el Corregidor Manuel de Olvera, 1570–1572. Según el relato, el Corregidor Olvera, quien aparece con su vara, no cumplió con las promesas de representación legal a los indígenas de Tepatepec en conflictos sobre diezmos y disputas laborales. El abuso de poder de parte de españoles locales era común en la Nueva España. Colección Genaro García, Colección Latinoamericana Benson, Universidad de Texas en Austin.

Para el evento conjunto, el personal de LBDS creó en FromThePage una colección de documentos escritos por, o sobre, las poblaciones indígenas en México desde los siglos XVI al XVIII en celebración del Año Internacional de las Lenguas Indígenas. El equipo tuvo bastante de dónde seleccionar: la Benson conserva numerosos archivos importantes que documentan la política, religión y cultura durante el período colonial español, incluyendo varios de los primeros libros publicados en las Américas (1544–1600) y los votos de profesión de Sor Juana Inés de la Cruz (1669–1695), por nombrar algunos. Durante el fin de semana, un pequeño pero dedicado grupo de personas contestó la llamada de LLILAS Benson y se unió en línea. Colaboradores de ambas costas de los Estados Unidos y tan al sur como Perú colectivamente ofrecieron más de veinte horas de su tiempo para transcribir catorce documentos en la Benson.


Códice ilustrado de las tierras que pertenecen al Colegio de Tepozotlán de los Jesuitas, circa 1600–1625. Mandamiento virreinal ordenando al “Repartidor de Indios” de Tepozotlán dé libranza al Colegio de la Compañía de seis indígenas, 18 de agosto de 1610. Colección Edmundo O’Gorman, Colección Latinoamericana Benson, Universidad de Texas en Austin.

El fin de semana del 18–19 de octubre, el Centro de Recursos de Idiomas (LRC) de la Universidad de Michigan ofreció algunas de estas transcripciones en su “Translate-a-thon,” un evento comunitario en donde fuentes primarias son traducidas para el beneficio de la comunidad local, nacional e internacional. Algunos voluntarios, uno de los cuales se enfoca en México de la época colonial, estaban encantados de ver documentos de la Benson y abordaron su traducción. Entre ellos estaba el decreto ilustrado, visto arriba, que ordenaba al repartidor de Tepozotlán asignar a seis indígenas para trabajar para los jesuitas, subrayando la importancia de la labor indígena en la construcción figurativa y literal del imperio español, y la propagación de la Iglesia Católica. Dado el éxito y el interés de la facultad de Michigan en este esfuerzo conjunto, el LRC y LBDS piensan continuar su colaboración para ampliar la accesibilidad y el uso de las fuentes primarias coloniales en la Benson.

La Dra. Cinthia Salinas guía a estudiantes graduados en su clase de “Métodos de Estudios Sociales” por de un ejercicio pedagógico utilizando un relato pictórico de Moctezuma y Cortés que se encuentra en la Colección Genaro García de la Benson, 19 de marzo de 2019. Cortesía de Albert A. Palacios.

El siguiente paso para la Oficina LBDS será de incorporar estas fuentes primarias transcritas y traducidas en clases de nivel preparatoria en el Estado de Texas y de licenciatura en la Universidad de Texas en Austin (UT). A principios de este año, LLILAS Benson estableció una iniciativa patrocinada por el gobierno federal con el Departamento de Currículo e Instrucción en el Colegio de Educación para diseñar lecciones de nivel secundaria en historia y geografía basadas en las ricas colecciones de la Benson. Agregando a estos esfuerzos pedagógicos, LBDS traducirá, dará contexto y promoverá el uso de estas fuentes coloniales en clases universitarias y proyectos digitales en UT y más allá.

Para aquellos que no pudieron participar en el evento, ¡aún pueden unirse al esfuerzo! La colección FromThePage de la Benson estará abierta para la transcripción y traducción colaborativa hasta el domingo 3 de noviembre. Consulte la lista de documentos y el guía para ver cómo puede ayudar.

Los colaboradores

  • Greg Lambousy (Director)
  • Jennifer Long (Administradora de Digitalización)
  • Bryanne Schexnayder (Técnica de Digitalización)
  • Michelle Brenner (Administradora de la Sala de Lectura, Museo de Jazz de Nueva Orleans y Centro de Historia de Louisiana)
  • Jenny Marie Forsythe (Co-Administradora del Proyecto “Transcribathon de Documentos Coloniales de Louisiana”)
  • Handy Acosta Cuellar (Doctorando, Universidad Tulane; Instructor de Español, Universidad Estatal de Louisiana)
  • Raúl Alencar (Estudiante de Posgrado, Universidad Tulane)

Haga clic aquí para obtener más información sobre los colaboradores del proyecto Transcribathon de Documentos Coloniales de Louisiana.

  • Julie C. Evershed (Centro de Recursos de Idiomas, Directora)
  • Traductores de documentos: Zhehao Tong, Marlon James Sales, y Olivia Alge
  • Albert A. Palacios (Coordinador de Estudios Digitales)
  • Joshua Ortiz Baco (Asistente Graduado de Investigación de Estudios Digitales)
  • Transcriptores en FromThePage (nombres de usuario): guillaume candela, Ken, Betty Cruz L, Matt H., Carolina Casusol, and Handy1985

Los autores

Albert A. Palacios es Coordinador de Estudios Digitales de LLILAS Benson Colecciones y Estudios Latinoamericanos, La Universidad de Texas en Austin. Jenny Marie Forsythe es co-gerente del proyecto Documentos Coloniales de Louisiana Transcribathon. Julie C. Evershed es la directora del Centro de Recursos de Lenguaje, Universidad de Michigan.

LLILAS Benson Collaborates on Remote Translation and Transcription of Colonial Documents

By Albert A. Palacios, Jenny Marie Forsythe, and Julie C. Evershed

Leer en español.

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’s transcription interface, https://fromthepage.lib.utexas.edu/llilasbenson.

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.

New Orleans Jazz Museum staff works with transcription collaborators at the Louisiana Historical Center, September 21, 2019. Courtesy of the New Orleans Jazz Museum.

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.

Painting, Pueblo of Tepatepec (New Spain) against Corregidor Manuel de Olvera, 1570–1572. According to the account, Corregidor Olvera—identified throughout with a corregidor’s staff—did not deliver on the legal representation he promised the Tepatepec Natives over various disputes regarding tithes and labor conscription. Local Spanish abuse of power was prevalent in New Spain. Genaro García Collection, Benson Latin American Collection, The University of Texas at Austin.

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.

Pictorial representation of the lands owned by the Jesuit College of Tepozotlán, circa 1600–1625 (left). Viceregal decree ordering Tepozotlán’s repartidor to provide the Jesuit college with Native laborers, August 18, 1610 (right). Edmundo O’Gorman Collection, Benson Latin American Collection, The University of Texas at Austin.

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.

Dr. Cinthia Salinas, chair of the Dept. of Curriculum and Instruction, walks Social Studies Methods master’s students through a teaching exercise using a pictorial account of the meeting between Moctezuma and Hernán Cortés, a document from the Benson’s Genaro García Collection, March 19, 2019. Courtesy of Albert A. Palacios.

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.

Project Participants

  • 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)
  • Raúl Alencar (Graduate Student, Tulane 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.