Category Archives: LLILAS Benson

Acquisitions/Foreign Travel, Area Studies, Benson Latin American Collection, Global Studies, LLILAS Benson

“Visiting Days”: An Archive of Family Care at São Paulo’s Largest Women’s Prison

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An archive acquired through the LLILAS Benson Archiving Black América–Black Diaspora Archive initiative documents scenes from prison visiting days

Brazil is among the top incarcerators of women worldwide, with Black women accounting for 65 percent of this population. The largest women’s prison in the country is the Penitenciaria Feminina Santana (Santana Women’s Penitentiary) in São Paulo. Every weekend, families of incarcerated women arrive to visit their loved ones on the inside. On Avenida Ataliba Leonel, the busy thoroughfare just outside the prison, two tents, or barracas, serve as informal storage sites where visitors pay to store their belongings prior to lining up to enter the prison. The tents also offer food for purchase.

A group of several dozen people cluster around the entrance gates of the large women's penitentiary in São Paulo, Brazil. One woman sits at the curb, a small child by her side. Many of the people have white plastic bags on the ground near them. The prison entrance is a pale yellow archway, trimmed in medium grayish blue, with a gate if the same blue, the name of the prison written above. In the foreground there is the surface of the street with many lines painted for crosswalks.
Facade of the largest women’s prison complex in Latin America, the Santana Women’s Penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

In the archive Dias de Visita/Visiting Days: Strategies for Connections, Affections and Black Encounters in Latin America’s Largest Women’s Penitentiary, LLILAS PhD student Ana Luiza Biazeto has assembled images and oral histories from her visits to the barracas, where she interviewed family members of incarcerated women, as well as some of the people who set up and run the tents. Biazeto became familiar with the prison and the visiting area during research for her master’s thesis, which was about Black incarcerated women in the prison.

A large blue tarp creates a tent with an open front. People can be seen standing or sitting under the tarp—one with an umbrella, one bent over holding a white plastic bag. Various bags and at least one suitcase are visible. On the rainy street in the foreground, a man rides by on a bicycle.
Loira’s tent welcomes visitors on a rainy day. Photo: Flávia Biazeto. Black Diaspora Archive.

While many incarcerated women are completely separated from the lives of their families and loved ones during their imprisonment, others are visited by family on a regular basis. During her first year as a PhD student, in a 2022 seminar on urban Brazil, Professor Lorraine Leu asked Biazeto some pointed questions about the women she had interviewed in the prison: How were their children doing? Who were their families? Leu’s questions inspired Biazeto to think more deeply about the dias de visita and what she could learn in this setting. She applied for, and received, an Archiving Black América–Black Diaspora Archive (ABA–BDA) archival acquisition award, which afforded her an opportunity to better understand the dynamic of the families.

Two small boys, both with shorn heads, face away from the camera. They are standing on a paved median facing a two-lane road. In the background, pale yellow three-story building can be seen. The sky above it is gray. The boys stand with their shoulders touching. They wear flipflop sandals, matching voluminous sweatpants that are light blue with a wide navy blue band across the knee, and long-sleeved sweatshirts.
Brothers, taken by their grandmother, wait to visit their mother in the Santana Women’s Penitentiary. Photo: Ana Luiza Biazeto. Black Diaspora Archive.

“I learned of things that I never would have imagined,” said Biazeto in an interview during spring 2025. “I was in connection with many mothers, many grandmothers, who visit women. There were many children, running around there on the avenue. And as I interviewed, I cried along with the women. The children came and showed me the drawings they were making, many the age of [my youngest child]. And just as my master’s thesis involved a painful process, it is also a painful thing to confront these realities.”

Barraca da Loira and Barraca da Adriana, named for the women who run them, are part of the informal economy and are protected by the Primeira Comanda da Capital, or PCC, an organized crime unit in São Paulo that is sometimes called upon by the state to act. Biazeto says the PCC might be on hand to make sure people line up in an orderly manner to visit the prison.

A group of white plastic bags sit on a dirty orange tarp. Each one is tied with a knot at the top. On some, a small yellow square of paper with a handwritten number is visible attached with a metallic hook. Some belongings, such as a dark plaid umbrella, can be seen peeking out of the bags.
Visitors’ items are put in plastic bags and locked with a password in Adriana’s tent. Photo: Flávia Biazeto. Black Diaspora Archive.

During her fieldwork, Biazeto conducted interviews with Adriana, who runs one tent, and with Karina, the daughter of “a Loira” (“Blondie”), who runs the other. Additionally, Adriana and her son, Paulo, recommended visiting family members for Biazeto to interview.

“They knew the people, they heard their stories, they sold them coffee, they welcomed the people,” Biazeto said.

Closed containers of cake and several individually wrapped sandwiches made with white bread sit on a wooden table. Two cake containers are stacked one atop the other, while a knife sits atop a single container.
The cake and snacks sold at Barraca da Loira. Photo: Flávia Biazeto. Black Diaspora Archive.

In the excerpt below, Biazeto discussed her fieldwork in more depth. The following conversation is translated from the Portuguese and condensed.

Q: What were some of the things that surprised you?

Biazeto: I saw a mother putting on makeup to show her daughter that she was ok. Because she said that her role was to maintain her daughter’s well-being inside the prison. She said, “I cry here with you, but I go in there with a smile for her to have hope, that I’m waiting for her out here, and that everything is all right.” So she puts on makeup, she applies eye shadow, puts on lipstick, fixes her hair.

In a grainy photo, a woman applies red lipstick to her mouth. She holds a mirror and the silver top of the lipstick tube in one hand, while applying the color to her open mouth in the other. She is wearing a leopard-print jacket.
A mother applies lipstick before visiting her daughter in the women’s penitentiary. Photo: Flávia Biazeto. Black Diaspora Archive.

I also saw—although the statistics say the opposite—I saw many men going to visit their women. Taking their kids. So this happens in a way that research doesn’t show. These men are also invisibilized. Principally Black men, because when we talk about the Brazilian prison system, we’re principally talking about race. I saw a grandfather bringing a grandson to see his daughter. I saw a father bringing a little girl in a stroller, giving her a bottle. Cooking for the women. Breaking those gender barriers somewhat.

Professor Christen Smith commented [on my research], “You are bringing in new viewpoints [novos olhares].” Because it’s the man who works the dawn hours as garbage collector, street sweeper; comes back home, cooks, takes his daughter, and goes to the gate of the penitentiary. So those were the things that surprised me.

A slender man in loose gray sweatshirt and sweatpants stands with his back to the camera. He is facing a crowded line across the street from the entrance gate to the women's prison. He holds a small child against the left side of his chest. The child is wearing gray sweats, a blue-and-white hat with ear covers and a pompom on top, and bright red sneakers. The man has short black hair and a cigarette tucked behind his right ear.
Father takes his child to see mother, sentenced and imprisoned in PFS. Photo: Flávia Biazeto. Black Diaspora Archive.

Also, mothers who brought food not just for their own daughters, but for the cellmates, and the block-mates, because they didn’t have visitors. A mother said, “My daughter shares the food I bring, even if it’s a spoonful for each person.”

Q: What are these women serving time for?

Biazeto: In general, it is drug trafficking. Sometimes it’s a family business; sometimes inherited from the mother, or along with a male partner. Generally it is the user who is criminalized, not the dealer.

Q: What more would you like to share about your work?

Biazeto: [I’ve been encouraged by Lorraine Leu to think about the (im)possibilities of Black futures in the context of the prison.] To see the children running around there, in the middle of a busy avenue, is to think about Black resistance. Right there, you witness the formation of a community that supports and sustains its members somehow, whether it’s sharing information on legal issues, or the workings of the prison system. Many times, this information comes from outside, from family members exchanging information between themselves. I could see a solidarity among those family members. I think that this archive keeps alive the memory of people who are resisting the Brazilian police state. It is a new way of resisting.

A small dark blue tent, open on two sides and held up by metal poles, reads "Barraca da Loira" in bright yellow letters (Loira's Tent). Inside the tent, there is a small metal table with a few full plastic bags, one or two large Thermos bottles, and two round plastic containers containing cake. Suspended from a makeshift clothing line outside strung from a larger pole is a rope with a few articles of clothing hung from it, among them a hot-pint long-sleeved sweatshirt. Several people stand facing the tent with their backs to the camera. In the foreground, a small amount of the street is visible, including an orange traffic cone.
Barraca da Loira sells flip-flops, soft drinks, coffee, cake, and underwear. They also rent out clothes and serve as a locker. Photo: Flávia Biazeto. Black Diaspora Archive.

Ana Luiza Biazeto will spend the 2025–2026 academic year in Brazil to continue her dissertation research on resistance and resilience among Black women and their families in the Brazilian carceral system.

The contents of the Visiting Days archive can be reviewed via Texas Archival Resources Online (TARO). The Black Diaspora Archive is an initiative of Black Studies, LLILAS Benson Latin American Studies and Collections, and the Office of the President. The archive is housed at the Nettie Lee Benson Latin American Collection.

Benson Latin American Collection, Digital Humanities, Digital Scholarship, Global Studies, LLILAS Benson, Uncategorized

Spanish Paleography + Digital Humanities Institute Focuses Research on Colonial Texts

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Scholars and graduate students from institutions across the country gathered at the Benson Latin American Collection for the Spanish Paleography + Digital Humanities Institute. The immersive three-day program provided intensive training in reading and transcribing Spanish manuscripts from the 16th to 18th centuries while introducing participants to digital humanities tools that enhance historical research.

Funded by  LLILAS’s U.S. Department of Education’s Title VI Program and the Excellence Fund for Technology and Development in Latin America, the institute sought to equip researchers with specialized skills to navigate colonial texts, visualize historical data, and foster a collaborative academic community. The event was spearheaded by LLILAS Benson Digital Scholarship Coordinator Albert A. Palacios, and brought together a cohort of graduate students and faculty members specializing in history, literature, linguistics, and related disciplines.

The institute focused on three key objectives: providing paleography training, introducing participants to digital humanities tools, and fostering a collaborative research network. Participants engaged in hands-on workshops to develop their ability to accurately read and transcribe colonial manuscripts. They also received instruction on open-source technologies for text extraction, geospatial analysis, and network visualization. The program fostered a community of scholars who will continue sharing insights and resources beyond the institute.

Participants had the opportunity to work with historical materials, including royal documents, inquisition records, religious texts, and economic transactions. Case studies were examined through paleography working groups, where scholars collaboratively deciphered difficult handwriting styles and abbreviations.

To apply their newly acquired digital humanities skills, each participant developed a pilot research project using Spanish colonial manuscripts. These projects utilized handwritten text recognition (HTR) technology, geographical text analysis, and data visualization tools to enhance historical inquiry. The final day of the institute featured a lightning round of presentations, allowing scholars to showcase their preliminary findings and discuss future applications.

This year’s participants hailed from universities across the U.S., including the University of Chicago, the University of North Texas, Columbia University, the University of Texas at El Paso, the University of California-Santa Barbara, Purdue University, City College of New York, West Liberty University, Oklahoma State University, and the University of California-Merced. The interdisciplinary nature of the group enriched discussions, providing diverse perspectives on archival research and manuscript interpretation.

A highlight of the institute was the introduction and use of the handwritten text recognition (HTR) model the LLILAS Benson Digital Scholarship Office trained and recently launched on 17th and 18th century Spanish handwriting preserved at the Benson. This innovation is expected to significantly accelerate the study of colonial-era documents and democratize access to these historical resources.

Additionally, the program provided a comprehensive list of recommended paleography resources, including books, digital collections, and online tools to support continued scholarship in Spanish manuscript studies.

Palacios is leading an online Spanish version of the institute for participants worldwide this spring and fall. He will be leading another onsite institute June 4-6, 2025.The demand for the LLILAS Benson Spanish Paleography + Digital Humanities Institute in the Colonial Latin Americanist field underscores the growing interest in merging traditional archival research with computational methodologies. By equipping scholars with both paleographic expertise and digital tools, the institute is paving the way for innovative research on the Spanish Empire and its historical records.

Benson Latin American Collection, LLILAS Benson

Ernesto Cardenal’s Centennial

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The papers of Nicaragua’s beloved poet-priest-politician reside at UT’s Benson Latin American Collection; January 20, 2025, is the centennial of his birth

Admired and controversial, Ernesto 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. 

A black-and-white photo shows many children in the background, facing the camera under a grassy roof open-air structure. In the foreground, several men are seated on a wooden floor. A microphone is being held above them to the left. The man on the left at the front of the photo is Ernesto Cardenal, wearing a black beret, wire-rimmed glasses and a simple collarless white shirt. He has shoulder-length white hair, and a full white beard and mustache. Another man to the right of him is speaking to an interviewer whose face is not visible.
Ernesto Cardenal (left of center) as Minister of Culture in Nicaragua. Undated photo, Benson Latin American Collection.

His relationship with the Sandinista government would eventually sour. As a result, the safety of his literary archive was in peril, leading to its eventual acquisition by the Benson in 2016.

In honor of Cardenal’s centennial, we link to previously published writings by UT Austin faculty and staff that examine various aspects of his life.

Ernesto Cardenal Papers

Ernesto Cardenal stands in profile in a black-and-white photo, on the left, at the stern of a small boat. He wears a simple white shirt and light-colored pants, a band around his forehead, glasses. He is holding a white net in his hand. He has shoulder-length white hair, beard, and mustache. The boat has the words San Juan de la Cruz painted on it, with the word Cruz symbolized by a cross.
Ernesto Cardenal, photo by Sandra Eleta

“The archive features rare editions of Cardenal’s writings, translations of his poetry, interviews, photographs, videos, newspaper clippings, documentaries about his life and work, and hundreds of letters to and from key protagonists of Nicaraguan culture and politics.”

Read more: Papers of Nicaraguan Luminary Find a Home at the Benson Latin American Collection

Ernesto Cardenal Papers on Texas Archival Resources Online

Cardenal at LLILAS Benson

Color photo of Ernesto Cardenal at age 91, reading his poetry at the Benson. He is wearing his black beret, a dark jacket, wire-rimmed glasses, and his hair is white, covering his ears. He holds a piece of paper in one hand and gestures with the other.
Cardenal reads his poetry to a packed house at the Benson. Photo: Travis Willmann.

The opening of the Ernesto Cardenal Papers is celebrated at a roundtable and bilingual poetry reading at the Benson. At the event, Cardenal reads his own poetry, which is passionately interpreted into English by poet Celeste Mendoza.

Watch video (poetry reading starts at one-hour mark): “Ernesto Cardenal in Word and Action” Reading and Roundtable

Cardenal in Hard Times

LP cover for Cardenal's libro-disco recording of Oración por Marilyn Monroe and other poems. The cover features Andy Warhol's alterations of Monroe's photo (or a copy thereof), in color, four in a square.
Warhol-inspired libro-disco cover. Caracas, 1972. Benson Latin American Collection.

“[T]he voice of Ernesto Cardenal broke with our routine of studying a limited range of literary texts, mostly focused on intimate, politically inoffensive themes,” writes Professor Luis Cárcamo-Huechante. “In the midst of times of censorship and coercion, it was Cardenal’s verses that awoke me to an unexpectedly revelatory linkage between poetry and social issues, literary writing and collective history.”

Read Cárcamo-Huechante’s essay in English or Spanish

Interview in Managua and Digital Exhibition

Ernesto Cardenal, his arms aloft and outstretched, is saying mass in this black-and-white photo. He wears a poncho. One the table in front of him is a metal wine cup. He has shoulder-length whitish hair, beard, and mustache, and dark-rimmed glasses. Behind him hangs a white sheet illustrated with drawings.
Saying mass. Ernesto Cardenal Papers, Benson Latin American Collection

In spring 2016, José Montelongo, former Benson librarian, visited Cardenal in Managua. The occasion was the Benson’s recent acquisition of Father Cardenal’s personal papers. In these excerpts from their conversation, Cardenal talks about poetry, science, and religion, about the famous poetry workshops he helped create, about the successes and failures of the Nicaraguan Revolution, and more.

Watch the video (in Spanish with English subtitles)

The digital exhibition “Remembering Ernesto Cardenal: Selections from His Archive,” organized by Latin American Archivist Dylan Joy, traces key moments in the life of the poet, priest, revolutionary, liberation theologist, sculptor, and activist.

Visit the digital exhibition

Hasta siempre . . .

Black-and-white close-up of an older Ernesto Cardenal, who is looking directly into the camera. His black beret is visible. He wears wire-rimmed glasses. His white hair is in bright relief with a black background.
Ernesto Cardenal, undated photo. Benson Latin American Collection.

“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.”

— Virginia Garrard, Professor Emerita of History; former director, LLILAS Benson

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

Benson Latin American Collection, Books, Global Studies, LLILAS Benson

Primeros Libros Triennial Takes Place in Oaxaca

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The 2024 Primeros Libros Triennial Partner Meeting and Symposium, held at the Francisco de Burgoa Library in Oaxaca on October 10–11, brought together scholars, librarians and cultural heritage experts to celebrate and examine the legacy of early Mexican printed books and their impact on understanding the colonial period.

The Primeros Libros de las Américas project is a collaborative digital initiative to preserve and provide access to the first books printed in the Americas during the 16th century. It emphasizes the creation of a comprehensive digital corpus to promote global access and scholarship. With contributions from institutions across Europe and the Americas, the project embodies the shared heritage of colonial Mexico and serves as a vital resource for understanding the history of print, culture and language in the New World.

Day 1 of the gathering opened with a keynote lecture, “The Christian Doctrine in Mixtec by Fray Benito Hernández (1567-1568): Its Historical and Current Context,” delivered by a panel of experts, including bilingual educators, psychologists, and philologists. The presentation highlighted efforts to preserve indigenous Mixtec texts through interdisciplinary research.

Panel discussions throughout the day explored the artistry and subversion in 16th-century Mexican prints, including analyses of the unique Franciscan Library’s “Warnings for Indian Confessors” and the survival of anti-colonial Nahuatl codices.

A virtual presentation from the Biblioteca Statale di Lucca shed light on the discovery of rare early American prints in European collections, illustrating the transatlantic reach of colonial print culture.

The second day delved deeper into the lives of early printers, such as Pedro Ocharte and the Calderón family, with a spotlight on technological advances in printmaking during the colonial era. Discussions also explored the circulation and reception of printed works across the Americas, including a case study of an indigenous sacristan in Zacatecas who risked punishment to preserve knowledge.

The symposium also included a visit to the Juan de Córdova Research Library and concluded with a book presentation on the history of engraving in Mexican print. Scholars and participants hailed the event as a critical platform for fostering collaboration and preserving the shared heritage of the Americas.

For more information about Primeros Libros and ongoing preservation initiatives, visit primeroslibros.org.

Benson Latin American Collection, Events, LLILAS Benson, Uncategorized

Former Chilean President Bachelet Champions Women’s Leadership and Equality in Public Address

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The Honorable Michelle Bachelet, former President of Chile and United Nations High Commissioner for Human Rights, addressed a crowd at the Benson Latin American Collection on October 16. Part of the Mary Ann Faulkner Distinguished Lecture Series in Latin American Public Affairs and Politics, the event was hosted by the Lozano Long Institute for Latin American Studies (LLILAS).

Bachelet made history as the first woman to serve as President of Chile, holding office for two non-consecutive terms (2006–2010 and 2014–2018). Born in 1951 in Santiago, Chile, she grew up in a politically active family and pursued a career in medicine, specializing in pediatrics and public health. Her life took a dramatic turn during Chile’s military dictatorship when her father, a general loyal to President Salvador Allende, was arrested and died in custody, and she herself was detained and tortured. After returning from exile in the 1980s, Bachelet became a prominent advocate for democracy and human rights. She later entered politics, serving as Minister of Health and Minister of National Defense before ascending to the presidency. Following her time in office, she was appointed as the first Executive Director of UN Women and later served as the United Nations High Commissioner for Human Rights from 2018 to 2022, continuing her lifelong commitment to social justice and equality.

Before the evening event, Bachelet visited the Benson’s Rare Books and Manuscripts Reading Room, where she was provided an introduction to the archive with a viewing of rare materials led by Benson Director Melissa Guy, Head of User Services AJ Johnson and Head of Special Collections Ryan Lynch.

The evening talk began with an introduction from LLILAS Director Adela Pineda Franco, who underscored Bachelet’s influence on democratic governance and human rights worldwide, then Bachelet launched into a talk focused on women’s leadership and gender equality across the Americas, set against a backdrop of rising authoritarianism and rights erosion. Reflecting on setbacks for women’s rights globally, Bachelet touched on issues such as recent limitations on reproductive rights in the U.S., elimination of Argentina’s Ministry of Women and gendered restrictions in Afghanistan. She argued that women’s rights must remain integral to discussions on democracy, noting that societal progress is hindered when women’s contributions are overlooked.

Bachelet also explored the impact of artificial intelligence on women’s employment, emphasizing the need for a human rights framework to prevent biased AI systems. She called for greater diversity in AI development, pointing to a male-dominated tech sector where gender biases could impact future job markets.

Immediately following her address, Dean JR DeShazo of the LBJ School of Public Affairs interviewed Bachelet on the challenges and progress in women’s leadership and gender equality in the Americas. Bachelet emphasized the importance of inclusive policies and the need for continuous efforts to address systemic inequalities. She highlighted her experiences in overcoming political and social barriers, underscoring the role of resilience and strategic optimism in advancing human rights and gender parity. The discussion also touched upon the impact of global crises, such as the COVID-19 pandemic, on women’s rights, and the necessity for collaborative international approaches to safeguard and promote gender equality.

Bachelet concluded the evening by encouraging attendees to champion gender equality as a foundational element of democratic integrity. Her call to action extended to the university’s community, encouraging students, faculty and future leaders to break barriers and advocate for equitable representation.

Archives, Area Studies, Benson Latin American Collection, Black Diaspora Archive, Collaborations, Digital Humanities, LLILAS Benson

A Visit to Eldorado: Archivists Attend the Annual Gathering of Quilombolas in Brazil’s Vale do Ribeira

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LER EM PORTUGUÊS

Ryan Lynch, Head of Special Collections and Senior Archivist at the Nettie Lee Benson Latin American Collection, and Rachel E. Winston, Black Diaspora Archivist, attended the annual meeting of traditional Black communities in Eldorado, state of São Paulo, as guests of EAACONE, one of the Benson’s archival partners.

ONE OF THE PARTNERSHIPS that emerged from the LLILAS Benson Mellon-funded project “Cultivating a Latin American Post-Custodial Archival Community” involved extensive collaboration with EAACONE, Equipe de Articulação e Assessoria às Comunidades Negras do Vale do Ribeira, located in Eldorado, Vale do Ribeira, São Paulo, Brazil. (EAACONE’s name translates as Team for Articulation and Assessment of Black Communities of Vale do Ribeira).  

A circle of women of various ages holds hands. They are wearing white blouses and multicolored floral skirts. A few of them wear straw hats.
Women from Quilombo Sapatu perform “Nha Muruca” at the Encontrão .

Digitized materials and metadata from the EAACONE archive are available in three languages on the Latin American Digital Initiatives Repository. LLILAS Benson’s collaboration consisted, in part, of training of EAACONE staff in digitization and metadata, as well as funding the purchase of equipment and the salaries of archival employees from the quilombola* community. Additional funds covered the creation of a traveling exhibition for the purpose of introducing schoolchildren and other community members to the archive and to the history of EAACONE and MOAB, the anti-dam movement with which it is associated. 

Three people stand in front of a chain link fence hung with vinyl posters, part of the traveling exhibition describing the EAACONE archive. On the left is a man, who is talking, in the middle, a woman whose t-shirt reads "Fight Like a Black Woman" (in Portuguese) and on the far right, another woman holds a yellow folder and is looking toward the man.
From left: Attorneys Fernando Prioste (Instituto Socioambiental, ISA) and Rafaela Santos (EAACONE) speak with Letícia de França (EAACONE).

EAACONE’s archive, titled Quilombos do Vale do Ribeira (Quilombos of Vale do Ribeira), consists of materials compiled from 25 years of EAACONE history and 35 years of MOAB (Movimento dos Ameaçados por Barragens, or Movement of Peoples Threatened by Dams), a grassroots movement protesting the construction of hydroelectric dams with negative impacts on the communities and environment of Vale do Ribeira. The dates of materials range from 1955 to the late 1990s. 

Several members of the LLILAS Benson archival team have visited Eldorado during the years of the collaboration. Most recently, Ryan Lynch (Benson Head of Special Collections and Senior Archivist) and Rachel E. Winston (Black Diaspora Archivist) visited Eldorado to attend the XXVIII Encontro das Comunidades Negras do Vale do Ribeira (28th Meeting of Black Communities of Vale do Ribeira)—known as the Encontrão (Big Meetup)—on November 18, 2023. Documents from the EAACONE archives were on display on tables at the event, as were vinyl panels from a traveling exhibition about the archive and the history of the area’s Black communities. 

A table display shows old newspaper clippings, photo albums, notebooks, and papers. A Black woman reaches toward the table, placing items. Two other young Black people—a man and woman—stand near her. In the background, there is a counter labeled "Bar" where people in hair nets appear to be setting up food.
Tânia Moraes (foreground), Letícia de França, and Andrey Pupo set up a display table with EAACONE archival materials.

“Attending the Encontrão helped me contextualize the work that EAACONE does with quilombo communities,” said Lynch. “Watching residents of the different communities see themselves, or their friends and relatives, in the documents, was an invigorating reminder of the importance of our work as archivists and post-custodial partners. Many of the people in attendance had made history and continue to make history. Thanks to the Mellon grant, their story is available not only to themselves and their descendants but also to K–12 students, researchers, and activists in other independent Black communities in the Americas.” 

A large white vinyl sheet hangs from a chainlink fence. It is printed with information in Portuguese and photos from the EAACONE archive named Quilombos of Vale do Ribeira Collection. The photos and text are related to women's meetings. LLILAS Benson is cited at the bottom of the vinyl sheet as a sponsor.
EAACONE’s traveling exhibition, which draws on archival materials digitized in collaboration with LLILAS Benson, will be used in schools and at events. This panel describes women’s meetings and includes archival photographs.

The LLILAS Benson collaboration was included in the event via the use of the LLILAS Benson logo on exhibition materials, and Lynch noted that it was also mentioned multiple times by speakers. He and Winston were introduced as VIPs at the beginning of the proceedings, and Lynch was invited by organizers to deliver a few impromptu remarks.  

“I look forward to exploring future partnerships that will allow us to continue to play a role in this important documentation and exchange of knowledge and experience,” he said. 

In a large cinderblock room with high ceilings, rows of Black, white, and mixed-race people sit in white plastic chairs facing the front. At front, a white man with dark hair, beard, and glasses, wearing a white shirt and dark pants, holds a microphone and speaks. There are numerous large posters hanging on the wall that talk about EAACONE, MOAB, and quilombola communities.
Benson Head of Collections / Senior Archivist Ryan Lynch shared greetings from LLILAS Benson and discussed the collaboration with EAACONE.

In her role as Black Diaspora Archivist, Winston has visited more than one post-custodial partner in Latin America. Both she and Lynch had visited Eldorado previously. “Reconnecting with EAACONE colleagues in person, and meeting more community members (documented and represented in the EAACONE collection) was incredible,” Winston said.

Three middle-aged Black men stand in a circle singing. The man on the right is playing a guitar. In the background, a banner hanging on the wall talks about MOAB, the historic anti-dam movement that has been a source of activism among quilombola communities in Vale do Ribeira.
From left: Noel Castelo, Rodrigo Marinho Rodrigues da Silva, and José Rodrigues da Silva sing after the conclusion of the Encontrão. The banner hanging on the wall talks about MOAB, the historic anti-dam movement that has been a source of activism among quilombola communities in Vale do Ribeira.

“Being a part of this project and partnership with EAACONE from the beginning to the end has been a highlight of my career at the Benson,” Winston adds. “When there, the importance of the work becomes more salient. EAACONE has been and continues to be an important fixture in the Vale do Ribeira. The impact of their work is amplified by our collaboration and by the work we do to preserve their archive. To see the EAACONE materials in the place of creation, used and viewed by the community members represented in them, and to be in community with that community, is a remarkable experience, and a reminder of the power of post-custodial archival praxis.” 

Large yellow letters placed on a green lawn spell out I Love Eldorado (in Portuguese). There is a fanciful outline of a bright red heart in the design. These letters are on a green lawn. The sky is wide an gray and cloudy in the background and above.
“I Love Eldorado” sign at the bus station in Eldorado.

*Quilombolas are Afro-descendant Brazilians who live in rural Black communities known as quilombos, which were originally established by enslaved people who fled enslavement to establish autonomous communities. There are 88 such communities in Vale do Ribeira, an area in the Brazilian states of São Paulo and neighboring Paraná. To read more about quilombolas in Vale do Ribeira, see Edward Shore, Brazilian Roças: A Legacy in Peril (2017) and The Quilombo Activists’ Archive (2019). 

Black women of various ages (plus one man) dance in pairs. The women are almost all wearing white blouses. Some wear straw hats. Some wear colorful flowered skirts.
Dancing at the Encontrão. A group of women and girls from Quilombo Sapatu performed a circle dance, Nhu Muruca, before breaking into pairs. Here, others have joined.
A group of older and younger people, mostly women, smile broadly while watching a dance performance. They are wearing colorful clothing.
Onlookers enjoy the dance performed by the women of Quilombo Sapatu.
A young Black woman with her hair in a bun atop her head sits on a concrete floor holding a camera near her knees and filming. A semicircle of other people of various ages and races is seated on white plastic chairs. A few are also standing. All are watching something that we can't see. A few are filming with phones.
Letícia de França films the dance performance.
Two banners printed in Portuguese on white cloth in red and black lettering hang on a chain link fence above a low wall made of cinderblocks. Behind them is an area covered with a high roof of corrugated metal. The top banner extolls the strength of the organization of traditional communities in Vale do Ribeira and the lower sign advertises the anti-dam group MOAB, saying "Land Yes! Dams No!" in large red letters.
Sign outside the location of the Encontrão, Quilombo Abobral Margem Esquerda, Eldorado. The large red lettering reads Land Yes! Dams No!
A quilombola elder runs, her back to the camera, arm oustretched, on a covered patio. Rain and wind are strong beyond the patio's cover, and the patio floor is wet. The wind blows her hair.
Chove Chuva! A quilombola elder and Encontrão attendee respond as rain begins, pausing the event.
A large group of people gather in a line near a table laden with food on a covered patio.
After the rain, Encontrão attendees share a meal.
A white plate piled high with colorful and tasty-looking food, including rice and beans topped with farofa, salad with tomatoes, orange pumpkin, and pale yellow yucca. A knife and fork rest on the edge of the plate.
Lunch! A traditional lunch was served, prepared by local quilombolas.
Area Studies, Benson Latin American Collection, Black Diaspora Archive, Digital Humanities, LLILAS Benson

Visita a Eldorado: Arquivistas da UT marcaram presença no Encontro Anual das Comunidades Negras Tradicionais do Vale do Ribeira

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Uma das parcerias resultantes do projeto “Criando uma Comunidade Arquivística Pós-Custodial Latino-Americana”, financiado pela LLILAS Benson Mellon, incluiu uma colaboração intensa com a EAACONE, Equipe de Articulação e Assessoria às Comunidades Negras do Vale do Ribeira, entidade localizada no município de Eldorado, Estado de São Paulo, no Brasil.  

Um círculo de mulheres negras de várias idades dança num espaço com paredes de bloco de concreto. A maioria delas usa blusa branca. Algumas usam chapéu de palha, outras, saias coloridas.
Mulheres e jovens de Quilombo Sapatu dançam “Nha Muruca” no Encontrão

O Repositório Latino-Americano de Iniciativas Digitais contém uma coleção de trabalhos digitalizados e metadados do acervo da EAACON, disponíveis em três idiomas. A colaboração LLILAS-Benson consistiu, em parte, de um programa de capacitação em digitalização e metadados para a equipe da EAACONE, assim como recursos financeiros para comprar equipamentos e pagar os salários dos colaboradores arquivistas da comunidade quilombola. Foram ainda disponibilizados recursos para cobrir a criação de uma exposição itinerante com a finalidade de apresentar para jovens estudantes de escolas e outros membros da comunidade não só o acervo completo como também a história da EAACONE e do MOAB.  

Três pessoas conversam de pé na frente de uma cerca onde estão penduradas cartaz que falam sobre o acervo de EAACONE.
Advogados Fernando Prioste (Instituto Socioambiental, ISA) e Rafaela Santos (EAACONE) com Letícia de França (EAACONE

O acervo da EAACONE, intitulado Quilombos do Vale do Ribeira, consiste de trabalhos compilados durante os 25 anos de existência da EAACONE e os 35 anos de existência do MOAB (Movimento dos Ameaçados por Barragens). O MOAB é um movimento de base dedicado a protestar contra a construção de represas hidroelétricas com impactos negativos nas comunidades e no meio-ambiente do Vale do Ribeira. As peças do acervo são datadas de 1955 até o final da década de 1990.  

Diversos integrantes da equipe arquivística da LLILAS Benson visitaram Eldorado durante os anos dessa colaboração. As visitas mais recentes foram de Ryan Lynch (Chefe de Coleções Especiais e Arquivista Sênior) e Rachel E. Winston (Arquivista da Diáspora Negra) que participaram do XXVIII Encontro das Comunidades Negras do Vale do Ribeira, também chamado de Encontrão, em 18 de novembro de 2023. Esse evento contou com trabalhos dos acervos da EAACONE exibidos em mesas, assim como painéis em vinil que integraram a exposição itinerante sobre acervos e história das comunidades negras da região.  

Uma mulher negra coloca materiais como páginas de jornal, álbuns de fotos, papeis e pastas sobre uma mesa. Junto com ela, outra mulher negra e um homem negro.
Tânia Morais, Letícia de França e Andrey Pupo organizam uma exibição de materiais do acervo de EAACONE

“Participar do Encontrão me ajudou a contextualizar o trabalho que a EAACONE realiza com as comunidades quilombolas”, relatou Ryan. “Observar os residentes das diversas comunidades, como eles se percebem e percebem seus amigos e parentes, tudo refletido nos documentos, foi uma reflexão regeneradora que me fez revalorizar a importância do nosso trabalho como arquivistas e entidades pós-custodiais parceiras. Muitos dos participantes do evento já haviam feito história e continuam fazendo história. Graças a essa grant da Mellon, a história dessa gente se torna disponível não apenas para eles mesmos e seus descendentes mas também para os jovens estudantes de ensino fundamental e médio, pesquisadores e ativistas em outras comunidades negras das Américas”.  

Um cartaz de vinil pendurado numa cerca. O texto fala sobre Encontros de Mulheres no acervo da EAACONE e mostra fotos tomadas nesses encontros. Em baixo, menciona o apoio de LLILAS Benson.
A exposição de EAACONE será utilizada em escolas e eventos especiais. Os materiais foram digitalizados em colaboração com LLILAS Benson no projeto Mellon.

A colaboração da LLILAS Benson foi incluída no evento por meio da utilização do logotipo LLILAS Benson nos materiais expositivos e Ryan observou que ela também foi mencionada diversas vezes pelos palestrantes. Ele e Rachel foram apresentados como VIPs na abertura dos trabalhos e Ryan foi convidado pelos organizadores para dizer algumas palavras a todos reunidos, o que ele fez de improviso.   

“Tenho uma ótima expectativa para explorarmos parcerias futuras que nos permitam continuar a desempenhar um papel significativo nessa documentação tão importante e nesse intercâmbio de conhecimentos e experiências”, observou ele.  

Muitas pessoas estão sentadas em filas e em cadeiras de plástico brancas, num auditório com paredes de bloco de concreto e teto alto. Na frente, um homem com barba e cabelo escuro, camisa branca e calça preta segura o microfone e fala às pessoas reunidas. Na parede tem vários cartaz que falam sobre EAACONE, MOAB e as comunidades quilombolas.
Arquivista Ryan Lynch compartilha saudações de LLILAS Benson e fala sobre a colaboração com EAACONE.

Como Arquivista para a Diáspora Negra, Rachel tem um histórico de visitas a entidades pós-custodiais parceiras na América Latina. Tanto ela quanto Ryan já haviam visitado Eldorado antes. “Essa reconexão com os colegas EAACONE ao vivo e agora a oportunidade de conhecer outros membros da comunidade (encontros documentados e representados na coleção EAACONE) foi incrível”, disse ela.

Três homens negros cantam juntos num círculo. O homem do lado direita toca violão. Na parede dá pra ver um cartaz que fala sobre a MOAB, grupo histórico que defendeu o Vale do Ribeira contra projetos de barragens.
Da esquerda: Noel Castelo, Rodrigo Marinho Rodrigues da Silva e José Rodrigues da Silva cantam após o fechamento do Encontrão

“Fazer parte desse projeto e dessa parceria com a EAACONE do início até o fim tem sido um marco importante da minha carreira na Benson,” adicionou Winston. “O fato de estar fisicamente no local destaca a importância do trabalho e o valoriza mais ainda. A EAACONE tem sido desde o início e continua a ser parte importante do Vale do Ribeira.  O impacto do trabalho deles é amplificado pela nossa colaboração e pelo trabalho que nós fazemos para preservar seus acervos. Ver ao vivo as peças e trabalhos da EAACONE nos locais onde eles foram criados, utilizados e visualizados pelos membros da comunidade ali representados, e estar presente comunitariamente com eles e elas, é uma experiência marcante e nos faz re-avaliar o poder da práxis arquivística pós-custodial”. 

Grandes letras amarelas instaladas numa grama verde falam "Eu Amo Eldorado." Em vez da palavra "amo" tem um coração vermelho.
Fora da estação de ônibus, Eldorado.
Vários casais de mulheres negras, e um homem, dançam. A maioria delas usam blusa branca. Algumas vestem chapéu de palha e saias com flores coloridas.
Mulheres (e um homem) dançam durante o Encontrão
Um grupo de pessoas de várias idades, a maioria mulheres com roupas coloridas, sorriem ao olhar a dança.
Curtindo a dança
Uma mulher negra jovem, um coque na cabeça, está sentada no chão de concreto com uma câmara perto dos joelhos, filmando. Ao redor dela um semicírculo de pessoas de várias idades está sentado em cadeiras brancas de plástico. Algumas pessoas estão de pé. Estão olhando na mesma direção e algumas pessoas estão filmando com o telefone.
Letícia de França filma a dança
Dois cartazes de telão branco estão pendurados numa cerca de arame acima de uma parede baixa de bloco de cemento. No fundo, um teto alto de metal. O cartaz de cima diz "A organização das comunidades tradicionais do Vale do Ribeira são mais poderosas que o Império da Votorantim". O cartaz de baixo, com letra grande e vermelha, fala Terra Sim! Barragem Não! MOAB: Movimento dos Ameaçados por Barragens - Vale do Ribeira.
Cartaz na entrada do Encontrão, em Quilombo Abobral Margem Esquerda, Eldorado
Num pátio grande e cuberto, uma quilombola corre, segurando a bolsa, uma mão estendida. Está chovendo e dá pra ver que o vento está batendo forte nas árvores e no cabelo da senhora. O chão do pátio está molhado. floor is wet.
Chove chuva!
Um grupo grande de pessoas se junta perto de uma mesa comprida com muitos pratos de comida.
Depois da chuva, o almoço está servido
Um prato branco com comida de várias cores e aspeto gostoso, incluindo arroz, feijão, farofa, salada com tomate, mandioca, abóbora. Um garfo e uma faca estão no prato.
Um almoço tradicional foi preparado pelas quilombolas
Benson Latin American Collection, Events, LLILAS Benson

An Evening with Gioconda Belli

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Renowned Nicaraguan writer and political figure, Gioconda Belli, spoke to a captivated crowd of over 120 attendees at a March 20 event hosted by the Benson Latin American Collection. The occasion served not only as a platform for Belli to share her remarkable journey but also to celebrate the acquisition of her archive by the Benson Latin American Collection.

Born in Managua, Belli grew up amidst the political upheaval of the Somoza dictatorship. Educated both in Nicaragua and abroad, she studied in Europe and the United States before initially pursuing a career in advertising, later shifting her focus to revolutionary politics.

In 1970, Belli joined the Sandinista National Liberation Front (FSLN), a leftist guerrilla organization opposing the Somoza regime, where she served as a clandestine courier, transported weapons, and travelled around Europe and Latin America obtaining resources and raising awareness of the Sandinista struggle.

Belli’s literary works artfully merge fiction and autobiography, drawing from her experiences as a revolutionary and a woman. Themes of love, desire, politics, and social change permeate her writing, notably exemplified in her renowned novel “The Inhabited Woman” (La mujer habitada, 1988).

Belli’s talk at the Benson delved into her experiences as a Sandinista and how these pivotal moments, intertwined with her personal life, have shaped her identity as a writer. The event provided Belli an opportunity to reflect on the preservation of her legacy at the Benson, and the importance of maintaining a historical accounting.

Attendees were treated to a recital of her poetry during her talk, and her compelling narrative resonated deeply with the audience, sparking thoughtful questions during the Q&A session that followed with director of the Teresa Lozano Long Institute of Latin American Studies (LLILAS) Adela Pineda.

Despite being exiled by the government of Daniel Ortega in 2022, Belli remains actively engaged in social and political advocacy, championing women’s rights and democratic reforms in Nicaragua and beyond. Continuously writing and participating in public discourse, she uses her platform to amplify marginalized voices and advocate for social justice.

The event not only served as a tribute to Gioconda Belli’s contributions to literature and politics but also highlighted the importance of preserving her legacy through the acquisition of her archive by the Benson Latin American Collection.

Read an interview with Gioconda Belli by Benson Director Melissa Guy, which appeared in a recent edition of Portal.

Collections, Global Studies, LLILAS Benson

Women’s History Month, Chicana Feminism

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Women’s History Month is an opportune time to reflect on the multifaceted contributions of women, especially those from diverse cultural backgrounds. In recognition, we turn our attention to the Chicana community and the rich resources available at the University of Texas Libraries – and especially the Benson Latin American Collection – that celebrate and document their stories.

At the heart of Chicana history lies a narrative of resilience and resistance. From the Chicano Movement of the 1960s and 70s to contemporary social justice initiatives, Chicana women have been instrumental in advocating for change. The Libraries’ collections include seminal works and primary sources that shed light on Chicana activism, identity formation, and community organizing. Researchers and enthusiasts alike can access documents, oral histories, and archival materials that capture the spirit of Chicana activism across different eras.

The Libraries boast a rich assortment of Chicana literature, from classic works by luminaries such as Gloria Anzaldúa and Sandra Cisneros to contemporary voices pushing boundaries and redefining genres. The Libraries’ catalog offers an extensive selection of Chicana-authored works – including poetry, fiction, or scholarly analysis – that illuminate the complexities of identity, migration, and belonging.

The visual and performing arts are integral to Chicana cultural expression, offering mediums through which artists challenge stereotypes, reclaim narratives, and celebrate heritage. Libraries’ resources include an impressive collection of visual art, photography, and performance documentation that capture the vibrancy and diversity of Chicana artistic production. From iconic murals to groundbreaking performances, these materials provide insight into the evolution of Chicana artistry and its intersections with politics, feminism, and cultural heritage.

In addition to physical holdings, the Libraries offers an array of digital archives and special collections that provide convenient access to rare and unique materials. Through digitization initiatives, scholars and enthusiasts worldwide can explore manuscripts, photographs, and ephemera related to Chicana history and culture. These digital resources not only preserve valuable artifacts but also facilitate research, teaching, and community engagement initiatives that promote awareness and understanding of Chicana experiences.

Here are some examples from the extensive holdings at the Libraries and the Benson Latin American Collection:

Chicana Movidas: New Narratives of Activism and Feminism in the Movement Era by Maylei Blackwell: This groundbreaking book examines the contributions of Chicana activists during the civil rights and feminist movements of the 1960s and 1970s. Drawing from oral histories and archival research, Blackwell sheds light on the often-overlooked role of Chicana women in shaping social and political change.

Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social (MALCS): This peer-reviewed journal focuses on the scholarly study of Chicana and Latina experiences. It publishes research articles, creative writing, book reviews, and more, reflecting the diverse voices and perspectives within the Chicana/o community.

Borderlands/La Frontera: The New Mestiza by Gloria Anzaldúa: An iconic work in Chicana feminist literature, Anzaldúa’s Borderlands/La Frontera explores the intersection of gender, race, and culture in the borderlands between the United States and Mexico. Through prose and poetry, Anzaldúa challenges conventional notions of identity and belonging, inspiring generations of activists and scholars. The Benson holds Anzaldúa’s archive, so curious scholars can see the author’s process at work from original manuscripts and source materials.

Chicana Archival Collections: The Benson Latin American Collection stands as a repository of invaluable Chicana primary resources, preserving the rich cultural tapestry and narratives of Chicana individuals. Within its holdings, iconic figures contribute distinct threads to the vibrant mosaic of Chicana heritage. Gloria Anzaldúa’s groundbreaking works challenge societal boundaries and explore the complex intersections of identity. Yolanda Alaniz’s activism and writings on feminism and Chicana identity serve as testament to the resilience and agency of Chicana women. Carmen Tafolla’s poetry and prose capture the spirit and struggles of Chicana life, while Carmen Lomas Garza’s art vividly depicts everyday scenes infused with cultural symbolism and familial warmth. These examples provide a mere cross-section of the rich Chicana holdings available to researchers and the curious alike.

Chicano Database: This comprehensive bibliographic index covers Chicano and Latino topics, including art, education, history, literature, and more. It includes citations to articles, books, book chapters, and conference papers, making it an invaluable resource for conducting research on Chicana studies.

Chicana: This documentary by Sylvia Morales traces the history of Chicana and Mexican women from pre-Columbian times to the present. It covers women’s role in Aztec society, their participation in the 1810 struggle for Mexican independence, their involvement in the US labor strikes in 1872, their contributions to the 1910 Mexican revolution and their leadership in contemporary civil rights causes, and shows how women, despite their poverty, have become an active and vocal part of the political and work life in both Mexico and the United States.

Chicana Feminist Thought: The Basic Historical Writings edited by Alma M. Garcia: This anthology brings together key writings by Chicana feminists, spanning from the early days of the Chicano movement to the present day. Covering topics such as reproductive rights, immigration, and intersectionality, these essays and manifestos offer essential insights into Chicana feminist thought.

Whether you’re a student, scholar, or simply interested in learning more about Chicana history and culture, these materials offer a rich and diverse perspective on the contributions of Chicana women to our society.

As we commemorate Women’s History Month, let us honor the legacy of Chicana women by delving into their stories, amplifying their voices, and recognizing their enduring contributions to society. Through the resources available at the University of Texas Libraries, we have the opportunity to deepen our understanding of Chicana history, culture, and activism, ensuring that their narratives continue to inspire and empower future generations.

Acquisitions/Foreign Travel, Area Studies, Benson Latin American Collection, Black Diaspora Archive, Exhibits, Global Studies, LLILAS Benson, Medicine, Students

Spirit of Viche: Black Ancestral Traditions in the Colombian Pacific

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by CAMILLE CARR

The Benson Rare Books Reading Room hosts a
student-curated exhibition, funded by an Archiving Black América–Black Diaspora Archive Acquisitions Grant

Spirit of Viche presents scenes of Black life and culture from the Colombian Pacific and features artistry from its four departments—Chocó, Cauca, Valle de Cauca, and Nariño. Its focal point is viche, an artisanal distilled sugarcane drink whose recipe has been passed down from enslaved African women to their descendants for centuries. Viche has medicinal properties, healing general ailments and aiding women during the process of childbirth. Viche is also deeply spiritual, constituting an integral component of everyday life for Black Colombian Pacific communities.

Several glass bottles sit on a wooden table, their contents range in color from orangish to amber yellow to clear. Different bottles have different colored labels.
Bottles of Mano de Buey viche sit on a table. The different labels and colors illustrate the varieties of distilled spirits offered by the brand. (Photo: Camille Carr)

Join us on Feb. 29 for a special exhibition talk with student curator Camille Carr, LLILAS Director Adela Pineda Franco, and visiting scholar Dr. William Mina Aragón, Universidad de Cauca, and Biblioteca Afrocolombiana de las Ciencias Sociales at Universidad del Valle, Cali
Event information here

Black women have created viche from sugarcane for centuries, also producing derivates that are important in spiritual and traditional healing practices of the Colombian Pacific. The first step in the artisanal process involves harvesting sugarcane along rivers and grinding it using a mill called a trapiche. Once ground, the sugarcane stalks release a juice called guarapo, which is fermented and distilled for up to three months. During the distillation process, guarapo is cooked over an open flame until it becomes transparent, resulting in viche puro. Viche makers, or vicheras, then infuse the drink with local herbs, fruits, and spices to create the traditional derivates of viche, known as viche curado and tomaseca. Black Pacific communities use viche curado to heal general ailments and tomaseca to aid women with menstruation, reproduction, and childbirth. As a spiritual and medicinal drink, viche functions as an ancestral technology for Black survival.

A Black woman holds a bottle and faces the camera. The bottle contains greenish-yellow herbs and liquid and has a pink label. There is a batiked cloth tied around the top. The woman's earrings are large turquoise hair combs and her hair is natural, very full, and reddish.
Vichera Mayra (Maja) Arboleda Mina (photo: Camille Carr)

In November 2021, the Ley del Viche (Viche Law) recognized viche as the patrimonial beverage of Black Pacific communities and permitted its commercialization. Presently, vicheras/os aim to protect the drink from cooptation by people outside the Pacific who wish to profit from the efforts of Black communities. With that in mind, this exhibit endeavors to recognize and reiterate this ancestral craft as a practice original to Black Colombian women and their communities.

The materials on display were collected in 2023 by LLILAS master’s student Camille Carr as part of the inaugural Archiving Black América-Black Diaspora Archive Acquisitions Award. The award allowed Carr to conduct ethnographic fieldwork in Cali, the center of Black life and culture in the Pacific region, and build a small archival collection that includes print media, photographs, bottles of viche, artworks, and other materials.

The acquisition of these materials reinforces the Black Diaspora Archive’s mission to document Blackness in the Americas and reifies the presence of Black Colombian culture within the Benson Latin American Collection.

This exhibition was curated by Camille Carr (MA ’24) in collaboration with Benson Exhibitions Curator Veronica Valarino.