Category Archives: Diversity

Recién actualizado, repositorio digital destaca nuevas colecciones latinoamericanas

POR DAVID A. BLISS / TRADUCIDO POR SUSANNA SHARPE

Read in English / Ler em português

Más de 60 mil imágenes escaneadas, que pertenecen a siete colecciones de archivos digitales, ya se hicieron disponibles en el repositorio Iniciativas Digitales Latinoamericanas (LADI), (ladi.lib.utexas.edu). Recientemente actualizada, la página web fue desarrollada a lo largo de dos años por el equipo de Iniciativas Digitales LLILAS Benson y el equipo de informática de las Bibliotecas de la Universidad de Texas, con el apoyo de la Fundación Andrew W. Mellon. Una versión previa del website fue lanzada en el 2015 y presentó cuatro colecciones de archivos.

¡Alto a la represión del sindicalismo! De la Colección Conflicto Armado, Afiches, Museo de la Palabra y la Imagen, San Salvador, El Salvador. https://ladi.lib.utexas.edu/es/mupi01

Las imágenes digitalizadas que se encuentran en el repositorio LADI fueron creadas por las organizaciones latinoamericanas que son dueños de los archivos, un trabajo que se realizó a través de una colaboración con LLILAS Benson Colecciones y Estudios Latinoamericanos de la Universidad de Texas en Austin. Las organizaciones colaboradoras produjeron escaneos de alta calidad y metadatos detallados sobre sus colecciones, mientras el personal de LLILAS Benson ofreció equipamiento, entrenamiento en-sitio y consulta técnica, todo dentro de un marco pos-custodial. El propósito del repositorio online es que esté disponible para investigadores, maestros y activistas, tanto como las comunidades a quienes pertenecen los materiales archivados. El sitio puede ser navegado en inglés, español y portugués.

Manifestaciones reclamando la reglamentación del artículo transitorio 55. De Colección Dinámicas Organizativas del Pueblo Negro en Colombia, Proceso de Comunidades Negras, Buenaventura, Colombia. https://ladi.lib.utexas.edu/es/pcn01

Las colecciones en LADI abarcan los siglos XVI hasta XXI. Fueron creadas por personal de las siguientes organizaciones socias: Archivo Judicial del Estado de Puebla (México), BICU-CIDCA (Nicaragua), Centro de Investigaciones Regionales de Mesoamérica (CIRMA, Guatemala), Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira (EAACONE, Brasil), Museo de la Palabra y la Imagen (MUPI, El Salvador) y Proceso de Comunidades Negras (PCN, Colombia). La variedad de materiales encontradas en estas colecciones refleja la diversidad étnica y social de Latinoamérica. A la vez, las colecciones manifiestan temas y luchas comunes que atraviesan las fronteras temporales y geográficas. Las áreas de destaque común de las colecciones incluyen los derechos afro-latinx e indígenas; la justicia ambiental; y los conflictos armados internos de la época de la Guerra Fría.

Las colecciones

  • Archivo de Inforpress Centroamericana (CIRMA, Guatemala)
  • Colección Conflicto Armado. Afiches. (MUPI, El Salvador)
  • Colección Conflicto Armado. Publicaciones. (MUPI, El Salvador)
  • Colección Digital del Periódico “La Información” (BICU-CIDCA, Nicaragua)
  • Colección Digital Fondo Real de Cholula (Archivo Judicial del Estado de Puebla, México)
  • Colección Dinamicas Organizativas del Pueblo Negro en Colombia (PCN, Colombia)
  • Quilombos do Vale do Ribeira SP/PR (EAACONE, Brasil)
MOAB – A saga de um Povo [MOAB – La saga de un Pueblo]. De la colección Quilombos do Vale do Ribeira SP/PR, Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira, Eldorado, Brasil. https://ladi.lib.utexas.edu/es/eaacone01

Detalles de la versión actualizada

La nueva versión del sitio fue construida desde cero con el uso de tecnología de acceso abierto que consiste en Fedora 5, Islandora 8 y Drupal 8, basado en el Marco de Descripción de Recursos (Resource Description Framework, o RDF) para datos enlazados. La infraestructura del repositorio actualizado representa un gran mejoramiento en la capacidad multilingüe el sitio, y provee mayores conexiones entre objetos, para mejorar las búsquedas avanzadas y la visibilidad. El sitio fue desarrollado utilizando una combinación de herramientas estándar de Islandora y código especialmente diseñado, el cual ha sido donado a la comunidad Islandora.

Avalúo de los bienes de Manuel Romero. Colección Digital Fondo Real de Cholula, Archivo Judicial del Estado de Puebla. https://ladi.lib.utexas.edu/es/frc01

Los miembros del equipo central del proyecto son David Bliss, Itza Carbajal, Minnie Rangel, Brandon Stennett y Theresa Polk. El equipo de Iniciativas Digitales de LLILAS Benson también quisiera reconocer las contribuciones de muchos colegas y entidades que apoyaron este proyecto, como el personal y el liderazgo en las organizaciones colaboradoras; los/las investigadores Dr. Anthony Dest, Dra. Lidia Gómez García, Dra. Kelly McDonough y Dr. Edward Shore; los/las traductores Tereza Braga, Jennifer Isasi, Joshua Ortiz Baco y Albert Palacios; servicios IT de Bibliotecas UT; el equipo de Administración Digital de las Bibliotecas UT; la administradora de subvenciones de LLILAS Benson Megan Scarborough; el liderazgo de las Bibliotecas de UT y de LLILAS Benson; los asistentes posgraduados que contribuyeron a este proyecto—Alejandra Martínez, Joshua Ortiz Baco y Elizabeth Peattie.


David A. Bliss es archivista de procesamiento digital en LLILAS Benson Colecciones y Estudios Latinoamericanos, La Universidad de Texas en Austin.

Destaque para novas coleções do Repositório Digital Latino-Americano Atualizado

POR DAVID A. BLISS / TRADUZIDO POR TEREZA BRAGA

Read in English / Leer en español

Mais de 60 mil imagens escaneadas de sete coleções de arquivo espalhadas pela América Latina estão agora disponíveis virtualmente no repositório atualizado da Iniciativas Digitais Latino-Americanas (em inglês, LADI) (ladi.lib.utexas.edu). O site foi desenvolvido durante um período de dois anos pela equipe Iniciativas Digitais da LLILAS Benson e por desenvolvedores de software das Bibliotecas da Universidade do Texas, com o apoio da Fundação Andrew W. Mellon. Uma versão anterior do site, com quatro coleções de arquivos, foi lançada em 2015.

¡Alto a la represión del sindicalismo! [Pare à repressão ao sindicalismo]. Da coleção Colección Conflicto Armado, Afiches, Museo de la Palabra y la Imagen, San Salvador, El Salvador. https://ladi.lib.utexas.edu/pt-br/mupi01

As imagens digitalizadas do repositório LADI foram criadas por organizações proprietárias de arquivos na América Latina, em parceria com a LLILAS Benson. As organizações parceiras produziram digitalizações de alta qualidade e metadados detalhados sobre suas coleções, enquanto que os profissionais da LLILAS Benson proporcionaram equipamentos, capacitação local e consulta técnica para um ordenamento arquivístico pós-custodial. O repositório virtual foi criado para utilização por pesquisadores, professores e ativistas, assim como pelas comunidades a quem pertencem as peças. O site pode ser navegado em inglês, espanhol e português.

Manifestaciones reclamando la reglamentación del artículo transitorio 55 [Manifestações que demandam a reglamentação do Artigo Transitório ]. Da coleção Colección Dinámicas Organizativas del Pueblo Negro en Colombia, Proceso de Comunidades Negras, Buenaventura, Colombia. https://ladi.lib.utexas.edu/pt-br/pcn01

As coleções encontradas na LADI abrangem um período que vai do século XVI ao século XX e foram criadas por profissionais do projeto trabalhando nas instalações das seguintes entidades parceiras: Arquivo Judicial do Estado de Puebla (México), BICU-CIDCA (Nicarágua), Centro de Pesquisas  Regionais da Mesoamérica (CIRMA, Guatemala), Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira (EAACONE, Brasil), Museu da Palavra e da Imagem (MUPI, El Salvador), e Processo de Comunidades Negras (PCN, Colômbia). A variedade de materiais encontrada nessas coleções reflete a diversidade étnica e social da América Latina. Ao mesmo tempo, as coleções tratam de lutas que são comuns a vários povos e transpõem limites temporais e geográficos. Os destaques temáticos específicos das coleções do repositório são direitos afro-latinx e indígenas, justiça ambiental e conflitos armados internos da era da Guerra Fria. As coleções são as seguintes:

  • Archivo de Inforpress Centroamericana (CIRMA, Guatemala)
  • Colección Conflicto Armado. Afiches. (MUPI, El Salvador)
  • Colección Conflicto Armado. Publicaciones. (MUPI, El Salvador)
  • Colección Digital del Periódico “La Información” (BICU-CIDCA, Nicaragua)
  • Colección Digital Fondo Real de Cholula (Archivo Judicial del Estado de Puebla, México)
  • Colección Dinamicas Organizativas del Pueblo Negro en Colombia (PCN, Colombia)
  • Quilombos do Vale do Ribeira SP/PR (EAACONE, Brasil)
MOAB – A Saga de um Povo. Da coleção Quilombos do Vale do Ribeira SP/PR, Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira, Eldorado, Brasil. https://ladi.lib.utexas.edu/pt-br/eaacone01

Detalhes do site atualizado

A nova versão do site foi criada do zero com a utilização de uma pilha tecnológica de fonte aberta constituída de Fedora 5, Islandora 8 e Drupal 8, com base no Quadro de Descrições de Recursos (RDF) para dados ligados. A infra-estrutura de repositório atualizada permite aprimorar significativamente o caráter multilíngue do site e disponibiliza mais conexões entre objetos para facilitar buscas cruzadas e descobertas. O site foi desenvolvido com a ajuda de uma combinação de funções Islandora padrão e código personalizado que volta para a comunidade Islandora em forma de contribuições.

Avalúo de los bienes de Manuel Romero [Avaliação dos bens de Manuel Romero]. De Colección Digital Fondo Real de Cholula, Archivo Judicial del Estado de Puebla. https://ladi.lib.utexas.edu/pt-br/frc01

A equipe núcleo do projeto consistiu de David Bliss, Itza Carbajal, Minnie Rangel, Brandon Stennett, e Theresa Polk. A equipe da Iniciativas Digitais LLILAS Benson gostaria também de agradecer as contribuições de outras pessoas que apoiaram esse projeto, inclusive os profissionais e gestores de cada organização parceira; os articuladores acadêmicos Dr. Anthony Dest, Dra. Lidia Gómez García, Dr. Kelly McDonough, e Dr. Edward Shore; os tradutores Tereza Braga, Jennifer Isasi, Joshua Ortiz Baco e Albert Palacios; os serviços de IT das Bibliotecas UT; a equipe de Administração Digital das Bibliotecas UT; Megan Scarborough, Gerente de Grants da LLILAS Benson; as equipes gestoras das Bibliotecas UT e LLILAS Benson; a Fundação Andrew W. Mellon; a comunidade de desenvolvedores do Islandora; e os pós-graduandos assistentes de pesquisa que contribuíram para esse projeto: Alejandra Martinez, Joshua Ortiz Baco e Elizabeth Peattie.


David A. Bliss é arquivista de processamento digital de LLILAS Benson Coleções e Estudos Latino-Americanos, da Universidade de Texas em Austin.

Diverse Adaptations in Classical Literature

“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.

I’m excited to share these diverse adaptations of classical literature in our library collection, especially since they hold a special significance for me as a Latina who completed her undergraduate work in Latin and History here at UT Austin.

The study and teaching of Greek and Roman Classical Civilization has largely been a white and male tradition. As there are increasing calls for diversity in academia, Classics has made some strides, but largely from students and early career scholars, raising the questions about just who is Classics ‘for’?

Red Figure Kantharos, a large drinking vessel. In the style of the Penelope painter, classical period, mid 5th century BCE. From Homer’s The Odyssey, translated by Alexander Pope with art by Avery Lawrence.

A new online exhibit, “Diverse Adaptations in Classical Literature” showcases items from the UT Libraries collection of original classical Greek literature in translation and contemporary adaptations created by a more diverse authorship than usually discussed. UT Libraries contain a depth of diverse adaptations but showcased here are works of authors from Latinx & Latin American, African & African Diaspora, Asian-American and LGBTQ+ communities.

Variety of adaptation is also highlighted in the form of plays, novels, visual art and in a wide array of translations and scholarly approach. The collection and themes presented in this exhibit on diverse adaptations are intended to encourage those, especially people of color (POC) and LGBTQ+ folks, who may not have historically felt included in conversations related to classics or classical literature. For those already engaged in classics, they can see the evolution of translation studies and how classical antiquity draws parallels to the contemporary realities of diverse communities.

The Land of the Lotus Eaters, 1977, Collage of various papers with paint and graphite on fiberboard, 36 x 48 inches. From Romare Bearden: A Black Odyssey.

These adaptations are fantastic in their own right but also showcase the illuminating perspectives and unique takes on classical literature. Everyone loves a good Simpsons take on the Odyssey, but there is something novel about reading an adaptation of Medea that includes culturally familiar dialogue of English mixed with border Spanish. These types of perspectives elevate the original work.

Production poster from Arizona State University MainStage production of The Hungry Woman: A Mexican Medea, directed by Dora Arreola, 2014.

In highlighting diverse publications, this exhibit also calls attention to the issue of diversity in the field of Classics itself. This showcase also challenges us to grapple with questions around structural issues such as the lack of retention of those from underrepresented backgrounds in the academy. It will take a combination of entities and systemic efforts to transform a field that historically does not include POC or LGBTQ+ scholarship. This exhibit asks us to redefine who Classics is ‘for’ by delving into how the ancient world has been received and recontextualized by diverse adaptations engaging with classical literature.  As such, it is but one effort to illustrate a fresh and more nuanced face of a field that is no longer just for an exclusive class, gender or color of people.

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.

Diversity Residents Move On

In fall of 2018, the Libraries welcomed the first class of The Consuelo Artaza and Dr. Carlos Castañeda Diversity Alliance Residency Program who arrived for a 2-year term. Residents Laura Tadena and Natalie Hill spent the last year+ in rotations with various units for an immersive experience in librarianship, and though their terms haven’t yet expired, both earned the sort of attention that generated interest from other institutions wanting to lure them to professional opportunity. While we’re sad to see them leave, we’re extremely proud of the work they put in during their time at UT, and for the extensive contributions they made to what we do.

Hill and Tadena sat with me to reflect on their experience during their residencies, and to share their impressions of the program and the knowledge they gained.


Natalie Hill and Laura Tadena.
Natalie Hill and Laura Tadena.

Tex Libris: What is the main value or biggest takeaway you have from participating in the program?

Laura Tadena: I think for me it was learning about all the resources that we have access to or that are available for the state, and really wanting to share that information with others. Coming into this, I wasn’t familiar with the Texas State Library. I also didn’t realize how many libraries are open and free to the public, especially academic and college libraries. So, I think the most valuable thing for me was learning that and really refining my information literacy skills. Now I feel equipped to really find information in a way that I wasn’t before, especially research and reference skills. I did chat, which was part of learning UT’s system, and then we ended up doing a lot of presentations together, which required a lot of research that recalled the knowledge I learned in school and put it into practice in a professional setting. And seeing how some of the other librarians in action, how they do their jobs, and being like, “Wow…that’s how you get information.” 

Rachel Winston and Natalie Hill standing in front of a work of art.
Rachel Winston and Natalie Hill.

Natalie Hill: My big takeaway is knowing how the library works at multiple levels, and how information is communicated. Rotating between the different areas and being on all of the listservs, even after I’ve left an area, has been really interesting to see when people find things out about what’s going on. The experience has really encouraged me to go into leadership, which isn’t something I had strongly considered before. Now I want to do that.

TL: Do you feel like you gained some confidence from your time here?

NH: For sure.

TL: That’s a huge value, if you can walk into a place feeling like a visitor, and walk away thinking, “I can do this.”

NH: I think meeting directly with (Libraries’ Director) Lorraine Haricombe a few times was really valuable, and having her provide encouragement…when she says you can do something, you think, “Yeah, I can, if she thinks I can.”  So it was a big confidence boost.

TL: You have both done a lot of presentations in your time here, and that comes along with the territory, being in the residency program, but not all of the presentations were required as a component of your positions as resident; they were elective. Was that interest in presenting something you brought to your work here, or was it a byproduct of the confidence you’ve talked about gaining in your time at the Libraries?

NH: I think it was after we got here. Presentations were what I was least looking forward to. And now I’m like, “These are easy.”

LT: I think that one of the things that kind of started it was when we had a window into the hiring process, and saw what the CVs, resumés and cover letters looked like. We realized that we needed to get that sort of activity into our CV to be able to compete in the market. And so we put a bunch of submissions out thinking we weren’t going to get accepted…

NH: We thought it would be harder to get accepted…

LT: We also recognized a higher value in presenting papers or being included in panels as opposed to other forms of presentation.

TL: Did the experience meet your expectations?

NH: I didn’t fully know what I wanted to do when I started, but I felt it would have something to do with open education. So being able to call myself the open education librarian, and write my own job was great. So, in that way the experience exceeded my expectations — especially with the development work behind open education going on simultaneously, to see it becoming a real strategic initiative within the organization and to be part of it as that was happening.

LT: I think coming into this, I initially thought I was going to be doing more outreach and connecting with the student body, so learning how academic libraries work was what exceeded my expectations. And the access we had to professional development was incredible. We had opportunities to go to professional conferences, and I got practice in applying for scholarships. I came in here wanting to find ways to serve Texas, and I think I leave here now with a better foundation for doing that.

NH: I think one thing I didn’t expect was being known in the field. And I feel like now people know us – probably as a pair, not necessarily as individuals – but, still that’s bizarre. It’s kind of strange to be familiar to people in positions of leadership.

Hill and Tadena with fellow diversity residents.
Hill and Tadena with fellow diversity residents.

TL: This is a nascent program that didn’t have a lot of predetermined direction when you came in, and you’ve had a chance to steer it in a way.

LT: We didn’t expect to start a Slack space for various diversity residents across the country, but there are ACRL liaisons contacting us about the development of that. We’re being brought on as mentors for other residents. So it’s rewarding to be able to give back to the profession.

NH: Laura met with the iSchool to try to set up presentation opportunities for students.

LT: I also met with the dean of my alma mater who’s been recruiting me to teach there. I didn’t realize that as library schools are moving more towards an information science orientation, there is a shortage of public school librarians, resulting in a shortage of people who can teach about school librarianship. Someone told me – I think it was Portia (Vaughn, previous science liaison) – that every opportunity should lead to another opportunity, and I’ve found that it does tend to happen if you are open to talking with people and seeing if you can meet each other’s needs and trying to think ahead.

TL: What was the benefit of getting to work with professionals in librarianship?

NH: I worked with Colleen Lyon (Head of Scholarly Communications) most of the time that I’ve been here, and that’s been really beneficial because she really knows what she’s doing.

LT: I think that working with Porcia (Vaughn, former Liaison Librarian for Biosciences) and Carolyn (Cunningham, Head of Teaching and Learning Engagement Team), they have a way of communicating with you and teaching you – the had a way of teaching you how to do things, including the decisions behind their methods; it was extremely helpful and not something that everyone naturally does. Carolyn was really helpful in navigating internal and institutional frameworks, and Porcia helped with the external opportunities, like connecting with other STEM librarians, introducing me to other networks to get involved in of which I was unaware. And through our residence space, we learned about what was happening at other libraries.

Porcia Vaughan, Laura Tadena and Natalie Hill.
Porcia Vaughan, Laura Tadena and Natalie Hill.

TL: What was something you didn’t know about libraries before that you know now?

NH: I didn’t know anything about instructional design, and now I’m going to be an instructional designer. At the time we came in, job postings in the field suggested that people were looking for assessment and instructional design experience, and I was like, “I don’t really care about either of those things.” But, working in open education, I realized that I was drifting away from affordability arguments, and toward student engagement and being able to adapt materials to better serve users, and those are really just instructional design principles. So, open pedagogy is what I want to do now.

LT: I really didn’t understand how academic libraries operated, big picture stuff. I think one of the biggest things I learned was how we provide services to our community. And what, as librarians, we’re able to do. I didn’t know that there was a state library that did just professional development. And I didn’t know about AMIGOS which does professional development support for all libraries. That area of the profession is very interesting to me because of my instruction background, and so I’m excited to be able to take that forward and support all types of libraries.   

NH: I don’t think I knew about how professional associations work before this, and having the ARL president here (Haricombe), I now know what the ARL does, which has been really valuable, because you can see where broader initiatives start then trickle out to the rest of field in succeeding years.

LT: And how committees operate, because we’re getting practical experience.

Three people standing with a large Olmec head sculpture.

TL: What advice would you give to someone who was considering applying to a residency program like this?

NH: Know that the program is for you, so if there’s not going to be a lot of flexibility or freedom, maybe consider another option. I think that we’ve been really fortunate here in that coming in as the first class of residents, it was pretty unstructured, and people were pretty willing to say yes to ideas. We’ve seen where other residency programs have a set job description and I don’t think something like that would be anywhere near as valuable an experience.

LT: My suggestion would be to connect with other residents — to learn about what they are doing and use that to help support what you are doing or to create your own agency, and advocate for your own benefit within the program. Because being part of it is about learning, and I think we’ve seen a lot of residents in positions where they don’t know they can ask for more, or they aren’t aware that they have some control over their experience and what they gain from it. We’ve been fortunate to have the opportunity – as long as it ties to our growth and development – to help shape our own experience.

TL: What do you think can be done to improve the experience for future residents?

LT: Cohort models are nice. I don’t know that this program would have been as beneficial for us if there was just one of us. It was a great experience to be able to have someone to go to talk with about the shared experience, to have someone that you’re constantly able to check in with. And, then again, to have someone available to bounce ideas off of was helpful, especially since the program is a safe space. Moving forward, I would recommend that there are at least two residents at the same level, or at least in a cohort model that is closer together. Having a buddy is good. And having great mentors.

NH: Maybe there could be a refresher for staff on what the program intent is. Because it’s up to the individual resident what interest within the organization they choose to pursue, they could end up in any area, even one that may have not had previous experience with a resident. We stayed in pretty public-facing academic engagement roles, but maybe someone else would be really interested in technical services. So just a reminder that it could go any way. And keeping the door open so that residents can go anywhere within the library that appeals to them, because that is what makes this program unique from other ones.

TL: What’s next for each of you?

LT: I will be the inclusive services consultant at the Texas State Library and Archives Commission, and I’ll be working for the first year with public libraries, helping to train staff and ensure that they have adequate resources to provide inclusive services. My future supervisor has said that the hope is to expand the role and potentially bring my work into both school and college/academic libraries. I’m looking forward to the type of work that I’m going to do. It’s another job that I don’t really know what I’m getting into, but I’m excited because of the great things I’ve heard about the State Library. And I’ll be close by.

NH: I will be an instructional designer with the University of New England in Portland, Maine, and I will be on a team of instructional designers within the College of Graduate and Professional Studies, which is made of fully online graduate programs. So, I will be working with faculty and subject matter experts to develop new online courses and provide quality assurance and redesigns for existing courses. I think that my specialty on the team will be promoting open educational resources and moving those to the forefront in the course creation process.

LT: Outside of our future roles, we’re also going to be working on a book chapter with (new diversity resident) Adriana Casarez on the residency program, and we’ll be presenting at TLA together, on a panel about residencies in Texas.

NH: Then, hopefully, the goal is to come up with an ACRL proposal so that we can do that in 2021.

TL: Congratulations on be the first class and being first class.

NH/LT: Thank you!

NH: We’re the first to graduate!

LT: Yay! We get to move our tassle….

Field Notes Photography Exhibition Showcases Student Research in Latin America

Each fall, LLILAS Benson Latin American Studies and Collections invites graduate and undergraduate students from all departments and disciplines across the university to submit photographs to the Field Notes student photography exhibition. Thirty images are chosen for display in the Benson Latin American Collection. Through these images, student photographers document moments from their research on Latin America or US Latina/o communities.

In addition to showcasing student research, the exhibition awards prizes of $250 to two student photographers. The winning photos are chosen in a blind competition by a panel of faculty and staff.

Fall 2019 marks the tenth anniversary of the photography show, originally conceived by Adrian Johnson, librarian for Caribbean studies and head of user services at the Benson. In this Tex Libris post, we give a glimpse of this beautiful and varied exhibition, and invite readers to visit the Benson to view all of the photos.

The announcement for Field Notes 10 used “La limpia,” show in the Field Notes 9 show, and taken in Quetzaltenango, Guatemala, by LLILAS PhD candidate Nathalia Ochoa.

Through her research with Mexican migrants in Austin, prize-winner Maribel Bello created the Facebook page Rancho Querido, which she calls “an emotional-visual-exchange bridge” for sharing of images showing everyday activities in Mexico. Her winning photo shows children playing hide-and-seek. Bello is a master’s student in Latin American Studies at the Teresa Lozano Long Institute of Latin American Studies (LLILAS).

“Yo mejor me escondo,” by Maribel Bello, was taken in La Cueva, Guanajuato, Mexico.

In his untitled prize-winning photo (below), Arisbel López Andraca, a PhD student in the Department of Spanish and Portuguese, depicts a religious procession in Havana, Cuba. López has been researching the visuality of “daily religious practices” in the streets of Havana, noting the considerable increase in the circulation of “dressed dolls” or “spiritual dolls” as representations of orichas, spiritual entities, or eggungun.

“Untitled,” by Arisbel López Andraca, taken in Havana, Cuba, shows a woman carrying a dressed doll in the procession of the Virgen de la Caridad del Cobre.

LLILAS PhD candidate Ricardo Velasco looks at “cultural initiatives for memory and reconciliation in the context of Colombia’s current transitional justice conjuncture.” He conducted ethnographic research in Comuna 13, he says, to inquire about “how youth visual culture has contributed to the transformation of what once was one of the urban epicenters of Colombia’s armed conflict.”

“Comuna 13, Medellín,” by Ricardo Velasco. The photo depicts the built environment of Medellín as seen from Comuna 13.

Pablo Millalen Lepin, a LLILAS PhD student, studies public policies toward indigenous people in his native Chile. His photo reflects the meaning of ranching and livestock ownership for Indigenous Mapuche families, for whom “the possession of an animal can be interpreted as part of the local economy, and/or the promise of future work, principally in the area of agriculture.”

“El pequeño toro solitario / The Lonely Little Bull,” by Pablo Millalen Lepin, taken in Lof Mañiuko, a Mapuche community in the South of Chile.

To see and enjoy all of the photographs, visit the exhibition in the first-floor corridor of the Benson Latin American Collection during library hours. Exhibition runs through December 2019.

Feature image, top, taken in Boyacá, Colombia, by Sofia Mock, undergraduate in Plan II.

Embroidered Testimonies of Salvadoran Civil War Refugees Accessible Online

By Albert A. Palacios, LLILAS Benson Digital Scholarship Coordinator

Leer en español

Over the summer, LLILAS Benson and El Salvador’s Museum of the Word and the Image (often referred to by its acronym, MUPI, for Museo de la Palabra y la Imagen) added yet another digital initiative to their long-standing partnership. Since 2012, the two institutions have worked closely to digitize archival materials related to the Salvadoran Civil War (1980-1992), thanks to the generous support of the Andrew W. Mellon Foundation. While continuing these efforts, this time around the collaboration explored the potential of digital humanities tools to showcase one of MUPI’s most visually compelling collections—embroidered refugee accounts.

Embroidered piece remembering a Salvadoran refugee camp and the people and activities associated with it.

Testimonies of human rights violations come in different forms, and MUPI’s founder and current director, Carlos “Santiago” Henríquez Consalvi, has actively sought to preserve the diversity. Soon after the signing of the 1992 Chapultepec Peace Accords that ended the Salvadoran Civil War, Santiago directed a campaign to rescue cultural heritage created prior to, during, and after the armed conflict. This has included political propaganda, periodicals, and the Radio Venceremos station recordings. Since its formal foundation in 1999, MUPI has continued this preservation and expanded its collecting and educational scope to include various topics in Salvadoran culture and history.

Its most recent growing collection—and the focus of this newest collaboration—consists of remarkable embroidered testimonies created by refugee Salvadoran peasant women in Honduras during the civil war. These pieces were meant to communicate to the world the refugees’ lived experiences, with many of the textiles being sent to solidarity groups and organizations in Europe and Canada at the time. Thanks to a recent international campaign, over twenty artworks have been repatriated and sent to MUPI. Through community workshops in El Salvador’s countryside, MUPI has striven to renew appreciation for this cultural tradition, promoting the art form and subsequent collecting efforts through an exhibition titled Embroiderers of Memories in San Salvador.

Now that the testimonies are making their way back home, MUPI is using digital technologies to continue the advocacy work these women began in the 1980s. In an effort to educate a broader and international audience, specifically El Salvadoran-descendant youth in the United States, the Museum worked with LLILAS Benson Digital Scholarship (LBDS) staff to recreate Embroiderers of Memories online. This past June, the LBDS team went to San Salvador and trained MUPI exhibition designer Pedro Durán on how to create digital exhibitions in LLILAS Benson’s Omeka platform so that he could reconceive his design online using working scans of the embroidery. The LBDS team also took the opportunity to introduce MUPI staff to other open-source digital humanities tools that could enrich MUPI’s active engagement with local youth groups.

Digitization of an embroidery.

The visit also launched another post-custodial archival project for both institutions. The initiative required an entirely different approach to digitization and new equipment training, considering the size of some of these artworks; for example, the piece pictured at the beginning of this blog was over 8 feet long. Pre-trained by the Benson’s post-custodial (PC) staff, the LBDS team worked with MUPI staff to start the archival-quality digitization and item-level description of the embroidery collection. The PC team hopes to incorporate the collection into LLILAS Benson’s Latin American Digital Initiatives later this year, so stay tuned.

Members of LLILAS Benson’s Digital Initiatives team work with archivists at the Museo de la Palabra y la Imagen in El Salvador.

Project participants:

  • Museo de la Palabra y la Imagen
    • Carlos “Santiago” Henríquez Consalvi (MUPI Director)
    • Carlos Colorado (Digitization Coordinator)
    • Pedro Durán (Graphic Designer)
    • Jakelyn López (Archive Coordinator)
  • LLILAS Benson
    • Dr. Jennifer Isasi (CLIR Postdoctoral Fellow) 
    • Albert A. Palacios (Digital Scholarship Coordinator)
    • David Bliss (Digital Processing Archivist) 
    • Itza Carbajal (Latin American Metadata Librarian)
    • Theresa Polk (Benson Head of Digital Initiatives)

Chicana Feminist Scholar and Writer Alicia Gaspar de Alba to Read at Archive Exhibit

BY DANIEL ARBINO

White, heterosexual men have long dominated archival records. However, the Nettie Lee Benson Latin American Collection has a new archival exhibition that indicates the times are changing.

The Benson Collection is pleased to commemorate the acquisition of the Alicia Gaspar de Alba Papers in the Rare Books and Manuscripts Reading Room on Thursday, May 2, at 4 p.m., with a visit from the author herself. During the presentation, Gaspar de Alba will read from her published creative writings as well as participate in a discussion with Mexican American and Latina/o Studies faculty member and community activist Lilia Rosas. Additionally, a selection of the Alicia Gaspar de Alba papers will be on view in an exhibition titled “This is about resistance”: The Feminist Revisions of Alicia Gaspar de Alba. The Benson acquired these papers in fall of 2017 through a generous donation from the notable Chicana feminist scholar, professor, and author.

The exhibit highlights the intersections of Gaspar de Alba’s scholarly and creative endeavors. Early poetry, essays on identity as a queer Chicana feminist, journal entries, research notes for novels and scholarly work like Desert Blood (2005) and Making a Killing (2010), correspondence with UT Press, novel manuscripts, and photographs will all be on display for visitors.

Notes for Gaspar de Alba’s first book-length academic publication, "Chicano Art: Inside/Outside the Master’s House" (1998)
Notes for Gaspar de Alba’s first book-length academic publication, “Chicano Art: Inside/Outside the Master’s House” (1998)

Gaspar de Alba is a native of El Paso/Ciudad Juárez, but has lived for over twenty-five years in Los Angeles, where she is a founding faculty member and former chair of the UCLA César E. Chávez Department of Chicana/o Studies. She is currently the Chair of the LGBT Studies Program and has affiliate status with the English Department. A celebrated writer and scholar, she has won various awards, including the Lambda Literary Award for Best Lesbian Mystery Novel (Desert Blood) and the American Association of Higher Education Book Award for [Un]framing the “Bad Woman” (2015).

The acquisition of the Gaspar de Alba papers further strengthens the Benson’s holdings in U.S. Latina feminism and literature, which also include the Gloria Anzaldúa Papers, the Carmen Tafolla Papers, and the Estela Portillo Trambley Papers.

Gaspar de Alba at the San Jerónimo Convent in Mexico City
Gaspar de Alba at the San Jerónimo Convent in Mexico City

Attend The Event

View the event here: https://www.lib.utexas.edu/events/270

This event is co-hosted by the University of Texas Libraries and LLILAS Benson Latin American Studies and Collections, who gratefully acknowledge the following co-sponsors: the Center for Mexican American Studies and the Center for Women’s and Gender Studies.

About the Benson Latin American Collection

The Nettie Lee Benson Latin American Collection is one of the foremost collections of library materials on Latin America worldwide. Established in 1921 as the Latin American Library, the Benson is approaching its centennial. Through its partnership established with the Teresa Lozano Long Institute of Latin American Studies in 2011, the Benson continues to be at the forefront of Latin American and U.S. Latina/o librarianship through its collections and digital initiatives.

Hinojosa and Pérez Brought Soul and Heart to 17th Annual ¡A Viva Voz!

A packed house at the Benson Latin American Collection was treated to a stunning set of music for the 17th annual ¡A Viva Voz! Celebration of Latina/o Arts and Culture, held April 4.

Lourdes Pérez (photo: Daniel Hublein)
Lourdes Pérez (photo: Daniel Hublein)

To be in the audience for “Cantos y Cuentos,” with singer-songwriters Tish Hinojosa and Lourdes Pérez, was to be drawn into an intimate conversation, an evening of poetry and song and sentiment that was poignant and personal, and at times delightfully humorous.

Audience at "Cantos y Cuentos" (photo: Daniel Hublein)
Audience at “Cantos y Cuentos” (photo: Daniel Hublein)

“Embodied in you is the history of thousands and thousands of years and hours of work and activism and human rights and cultural work, so I want to give you a round of applause for being here with us tonight,” said Pérez, before opening the concert with her song “Remolinos.”

In a set that was arranged song-swap style, Hinojosa followed with “Amanecer,” a love song written for her mother.

Tish Hinojosa (photo: Daniel Hublein)
Tish Hinojosa (photo: Daniel Hublein)

The emotional range of the concert was among the details that made it remarkable. One of the most touching songs of the evening was Hinojosa’s “The West Side of Town,” the tale of her parents, Felipe and María, which she wrote for her children so that they would learn about their grandparents, both of whom died before Hinojosa’s children could know them. Following that number, Pérez turned to her friend and said, “Tish, that’s a beautiful song, and I just wanted to tell you … I admire you, your beautiful voice, your songwriting—your beautiful songwriting—and I look up to you. Thank you for everything you’ve done in your life and your career.” These words, and this moment of one performer responding to the other, capture the authenticity of the evening.

Photo: Daniel Hublein
Photo: Daniel Hublein

Pérez’s wonderful sense of humor was on display with the songs “Héroe” (about a messenger dog, written in the poetic form known as décimas) and “A tu amor renuncio” (I Resign from Your Love—a breakup song for the digital age). In introducing the lovely “Roses Around My Feet,” Hinojosa claimed it was as close as she could come to a breakup song; the lyrics were inspired by the saying “No me estés hechando flores”— don’t be a flatterer—taught to her by her mother.

“Carrusel,” by Pérez, stood out as a stirring commentary on our time: “Diez mentiras repetidas son igual a una verdad” (“A lie, repeated ten times, equals the truth,” she translated.) In the haunting refrain, Pérez sings, “¿Qué veo? Nada. ¿Qué oigo? Nada. Y, ¿qué hago? Nada.” (What do I see? Nothing. What do I hear? Nothing. And what do I do? Nothing.)

Photo: Daniel Hublein
Photo: Daniel Hublein

The artists closed the concert with two duets, Hinojosa’s tender and enduring “Manos, Huesos, y Sangre,” written for Mexican artist Frida Kahlo, and Pérez’s anthem-like “Tengo la vida en las manos” (I Have Life in My Hands).

Before teaching the chorus of “Tengo la Vida” to the audience, Pérez spoke: “We still have the opportunity of creating spaces of freedom of speech. Who would have known that it was so threatened?” And she acknowledged the importance of places like LLILAS Benson, and of “this opportunity to celebrate life, to go into institutions of higher learning to tell our stories, and to straighten up the story that is being told” about us. (Adding another dimension to this statement, Hinojosa’s archive is housed at the Benson Latin American Collection.)

I have life, I have life,

I have life in my hands.

It is a consequence of being a woman.

It is a consequence of being human.

And then we all sang,

Tengo la vida, tengo la vida, tengo la vida en las manos.

Es consecuencia de ser mujer, es consecuencia de ser humano!


Learn about the artists at their websites: Tish Hinojosa and Lourdes Pérez.

Tish Hinojosa and Lourdes Pérez to Headline 17th Annual ¡A Viva Voz!

LLILAS Benson Latin American Studies and Collections is proud to present “Cantos y Cuentos: An Evening with Tish Hinojosa and Lourdes Pérez” for the 17th annual ¡A Viva Voz! Celebration of Latina/o Arts and Culture, coming to the Benson Latin American Collection, 2300 Red River Street, on Thursday, April 4, 2019, at 7 p.m.

In “Cantos y Cuentos,” San Antonio native Tish Hinojosa and Puerto Rican–born Lourdes Pérez will share the stage for song and conversation, giving the audience a front seat to the stories and histories behind each composer’s music, and glimpse of a friendship that spans many years.

Tish Hinojosa
Tish Hinojosa

Hinojosa is one of 13 children born to immigrant parents. The Southwest has been a focal point for her songwriting in English and Spanish, in styles ranging from Tejano to singer-songwriter folk, border music, and country. In a career spanning more than three decades, she has toured extensively in the U.S. and Europe, recorded in English and Spanish as an independent artist for major record labels, and has been a featured artist on Austin City Limits and A Prairie Home Companion. Hinojosa was praised by the Chicago Tribune as “a first-class songwriter,” and her supple voice lends itself well to a variety of genres. Her most recent album, West, includes new originals and an eclectic mix of covers.

West album cover Hinojosa

Hinojosa was an invited performer at the White House at the invitation of President Bill Clinton and then First Lady Hillary Clinton. She has performed with Joan Baez, Booker T. Jones, Flaco Jimenez, Pete Seeger, and Dwight Yoakam. The Benson Latin American Collection is the repository of Hinojosa’s archive.

Lourdes Pérez, photo: Annette D'Armata
Lourdes Pérez, photo: Jennifer Davis, 2019

When she began touring in the early 1990s, Lourdes Pérez was one of the only out Latina lesbians in the music world. Known for her soulful contralto voice, she takes on difficult topics in her songs, such as war and social justice, but also pens beautifully crafted lyrics on a range of topics. She is one of the few female writers of décimas, a form of Spanish poetry. Pérez’s performances have taken her to war zones and contested areas such as Chiapas and Palestine, and she has collaborated onstage and off with songwriters and performers in those areas and others, including translating lyrics from Arabic into Spanish.

In 2006, Pérez was one the first five artists in the US to be awarded a United States Artists Fellowship for Music, naming her “one of the finest living artists in the country.” Pérez is also a poet and oral historian. Her most recent project, Still Here: Homenaje al West Side de San Antonio, is a book and CD with original compositions by Pérez, performed by a variety of artists, inspired by oral histories of some of San Antonio’s most revered elders. The release of the project included a multimedia performance.

Still Here cover Perez

This event is free and open to the public. A reception will follow the performance. RSVP requested at http://attend.com/avivavoz17.