LLILAS Benson is thrilled to announce the return of the ¡A Viva Voz! Celebration of Latina/o Arts and Culture. The annual event, usually one of the highlights of the spring semester, was canceled in 2020 due to the recent campus closure for Covid-19.
Now that we’ve got an advanced degree in Zoom, we are pleased to announce Scene Onscreen: An Evening with JoAnn and Rupert Reyes, Founders of Teatro Vivo. This virtual event will be held on Thursday, April 1, 2021, at 7pm CDT. To register for the event and receive a link, visit Attend.com/AVV2021.
During the evening, hosted by Roxanne Schroeder-Arce of the Department of Theatre and Dance, the audience will be treated to recorded scenes from some of Rupert Reyes’s iconic achievements as a playwright, interspersed with conversation about the history of Teatro Vivo, the bilingual theater company that Rupert and JoAnn founded in 2000 and led for many years.
Scenes from Petra’s Pecado, Petra’s Cuento, and Petra’s Sueño;Crossing the Río, Cuento Navideño, Cenicienta, and the forthcoming film Vecinos will bring some levity to everyone’s evening, and it is our hope that the shared experience of laughter while enjoying these scenes will make the virtual a little more personal.
The JoAnn and Rupert Reyes Collection
The Benson Latin American Collection is the repository of the papers of JoAnn and Rupert Reyes, which contains a rich assortment of materials from their decades working with Teatro Vivo and other theater companies. According to the archival notes, “Teatro Vivo has garnered numerous nominations for acting, writing, and design from local theater award councils, including the B. Iden Payne Awards and the Austin Critics Table Awards, and the company continues to serve as an active contributor to the arts community in Austin. JoAnn and Rupert led the company as the executive director and artistic director, respectively, until they stepped down in 2016.” Both of the Reyes have received accolades for their work, including the Community Leadership Award from the University of Texas at Austin (their alma mater) in 2008 and the Partners in the Arts and Humanities award by the Austin City Council in 2011. They continue to serve as advisors to Teatro Vivo and remain significant cultural ambassadors for Latino theater in the United States.
Across time and cultures people have developed an astounding diversity of practices to remember the passing of others. Nearly every cultural and religious tradition have their own practices of mourning and remembrance. This is necessary as the death of a loved one creates the paradoxical impulses of both wanting to hold on to someone and the need to let them go. One common feature of many of these traditions is they are a public ceremonial method for processing private grief; the transferring of private grieving into a shared community activity. The following post provides a very brief sampling of remembrance practices from a variety of cultures with links to resources in the UT Catalog electronic resources for further exploration.
Famously from antiquity, pharaoh rulers from ancient Egyptian cultures had enormous monuments built, including the pyramids that have withstood millennia, to house their remains as well as their earthly possessions, to ensure their legacy and a prosperous afterlife.
The tombs of early Chinese rulers also displayed immense funerary dedication for the dead. The tomb of Qin Shi Huang from the late 3rd century BCE contained the Terracotta Army of roughly 9,000 terracotta sculptures, buried to protect the first Emperor of China in the next life.
Ancient Roman mausoleums were monumental memorials intended as public records of a prosperous individual’s life. Some funeral monuments were situated publicly, such as on a well-traveled road, with inscriptions admonishing those passing by to remember the deceased, allowing a manner of momentary survival as their name lived on.
In Judaism, the first stage of avelut is shiva (“sitting”), a seven-day period of mourning following burial. For this week, mourners remain at home, refraining from work and receiving visitors. Visitors may offer prayers and condolences and bring food so mourners need not need cook during their time of grief.
The annual Chinese Qingming Festival is a traditional observance for paying respect to ancestors through visiting, sweeping, cleaning and repairing their gravesites. Half cooked food is offered at the graves, firecrackers are used to chase off evil spirits, while incense is burned to entice the ancestor spirits to partake in the offerings.
Some African funeral traditions have a social and performative aspect to funerals, which are intended to provide a catharsis for grief over loss of a loved one.
In England in the mid-1800s, as photography became more affordable, and epidemics took their toll on the country, memento mori (“remember you must die”) photography of deceased family members became popular as a way of preserving their memory.
In contemporary North American Judeo-Christian traditions, we are most familiar with funerals with attendance by families and friends of the departed. Contemporary practices such as including sentimental tokens to include in internment such as photographs or wedding rings can be seen to reflect ancient practices of including goods such as arrowheads, pottery and shell jewelry in ancient burials.
Another tradition found to be adopted contemporarily are funeral processions. Many may be familiar with processions of mourners or cars, even for heads of state, such as Abraham Lincoln’s Funeral Procession in April 1865, or the funeral procession for President John F. Kennedy in 1963. Funeral processions have remained a powerful metaphor for enabling the transport of the departed from one world to the next.
In the Remembrance Project members of UT Libraries staff have developed an interactive exhibit for the UT community to honor loved ones and colleagues, and to acknowledge the impact of the COVID-19 pandemic on the UT community and worldwide. We invite members of the UT Community to share remembrances of colleagues, friends and loved ones as a way to honor and share their memory. Remembrance offerings are meant to be personal and individual, and may be inspired by your personal or cultural traditions or of those you are honoring.
Through acknowledging our losses and sharing we hope to provide a communal space during this challenging time for working through the difficulty of grief and loss. We invite you to explore further about various traditions of mourning and remembrance. We have collected some resources from the UT Library collection as a starting point.
Esse foi o Verão do Zoom nos Estados Unidos. Qualquer pessoa cujo emprego tenha passado de presencial para quase totalmente virtual nesse curto espaço de tempo já sabe como é (a) o isolamento, (b) a sensação constante de que não vai dar conta das coisas, (c) a overdose de videoconferências, ou (d) pelo menos uma das opções acima, senão todas ao mesmo tempo. Mesmo assim, a possibilidade de interagir com outras pessoas em plataformas tipo Zoom acabou nos permitindo avançar em certas áreas bem importantes. Esse foi o caso da recente série de oficinas conduzidas pela equipe de Iniciativas Digitais da LLILAS Benson (LBDI) com suas entidades arquivísticas parceiras na América Latina.
As oficinas foram originalmente concebidas para acontecer presencialmente durante um retiro de uma semana para todo o grupo de arquivos latino-americanos parceiros. O local escolhido foi Antigua, na Guatemala. Como atividade essencial da grant de dois anos da Fundação Mellon, intitulada Cultivating a Latin American Post-Custodial Archiving Community (Criação de uma Comunidade Arquivística Pós-Custodial Latino-Americana), a ideia era usar essa semana para criar uma oportunidade especial para essas entidades, cujas sedes são a Guatemala, El Salvador, Colômbia e Brasil. O retiro proporcionaria várias sessões de treinamento, intercâmbio de recursos e conhecimentos, troca de ideias e discussões sobre desafios que elas enfrentam em seus trabalhos.
A grant da Mellon é para o período de janeiro de 2020 a junho de 2022 e subsidia os trabalhos arquivísticos pós-custodiais* executados em parceria com cinco arquivos selecionados, alguns dos quais já se encontram representados no repositório da Latin American Digital Initiatives. Esse repositório enfatiza coleções que documentem temas de direitos humanos e comunidades subrepresentadas.
A pandemia do Covid-19 exigiu que a equipe de iniciativas digitais começasse a se articular e tomasse decisões rápidas para manter o ritmo do projeto no âmbito do cronograma da grant. O resultado foi essa série de oficinas oferecidas via Zoom, que exigiu dos membros da equipe LBDI a produção de vídeos completos de treinamento, concepção de sessões Q&A e agendamento de sessões com especialistas convidados. Os tópicos eram a montagem e redação de grants, preparo de orçamentos, processamento arquivístico, metadados, seleção de equipamentos, preservação digital e formação em tecnologia digital, entre outros.
Durante cinco semanas desse último verão americano, os participantes da oficina se reuniram duas vezes com Theresa Polk, David Bliss, Itza Carbajal, Albert Palacios e Karla Roig, todos membros da equipe da LBDI, com a presença adicional de Megan Scarborough, administradora de grants da LLILAS Benson. Todas as sessões foram conduzidas em espanhol com tradução legendada para o português (ou vice-versa) a cargo de Susanna Sharpe, coordenadora de comunicações da LLILAS Benson. Outros apresentadores foram Carla Alvarez, arquivista U.S. Latinx da Benson Latin American Collection, e duas especialistas em preservação de fotografias, Diana Díaz (Metropolitan Museum of Art) e María Estibaliz Guzmán (Escola Nacional de Conservação, Restauração e Museografia, ou ENCRyM, no México).
Apesar da distância física, ficou claro o alto valor atribuído pelos participantes a essa oportunidade de se reunir e aprender uns com os outros, especialmente durante uma pandemia que tem tido efeitos tão profundos na vida de tantos e no trabalho diário de todos nós. A pandemia ainda veio acompanhada de um forte isolamento, de ações de repressão e de crescentes ataques a certas comunidades. Esses fatores enfatizaram mais ainda, para as entidades parceiras, a urgência de preservar as documentações de suas comunidades não só para apoiar as lutas atuais por reconhecimento e respeito a direitos humanos básicos mas, também, para impedir iniciativas futuras que visem eliminar a memória ou negar a existência de violências e injustiças que sabemos vêm sendo cometidas. Esse compromisso compartilhado trouxe um grande senso de solidariedade para os participantes e um desejo de apoio mútuo.
“Para o nosso time, foi uma experiência enriquecedora que nos permitiu refletir, como parte de um grupo multinacional, sobre as conquistas e expectativas do projeto LLILAS Benson Mellon”, relatou Carlos Henríquez Consalvi (conhecido como “Santiago”), do MUPI, que também ressaltou como positiva a oportunidade de conhecer de perto o trabalho dos arquivos parceiros “e entender os desafios que eles enfrentam com a conservação e difusão de suas respectivas coleções”.
Carolina Rendón, um dos dois participantes do Centro de la Memoria Monseñor Juan Gerardi, do ODHAG, disse que os fardos diários da pandemia ficaram mais leves com a oportunidade de interagir com outras pessoas: “Foi muito bom estar no mesmo espaço, junto com gente que trabalha em diferentes arquivos espalhados pela América Latina. A pandemia tem sido muito dura. Durante as oficinas nós passamos por vários estágios, primeiro o lockdown, depois o medo, depois o horror diante de tantas mortes… Eu valorizo muito esse travar conhecimento, mesmo que virtualmente, com gente que trabalha em arquivos de outros países”.
Para a equipe da LLILAS Benson, os comentários positivos e a sensação geral de gratidão pela solidariedade dos encontros online foram uma compensação pelo trabalho árduo que foi preparar os diversos vídeos semanais de treinamento em espanhol, cujos roteiros iam sendo rapidamente traduzidos para o português pela nossa expert colaboradora Tereza Braga. Nas palavras de David A. Bliss, arquivista de processamento digital, “o maior desafio foi destilar uma quantidade gigantesca de dados técnicos para obter apenas os elementos mais importantes e comunicar esses elementos da maneira mais clara possível em espanhol”.
David aludiu ainda ao fato de que as próprias entidades parceiras são um grupo bem diversificado, com formações, necessidades, e tipos de arquivos diferentes. “Algumas das nossas parceiras já rodam programas de digitalização há anos mas, para outras, as informações eram todas novas, então eu me dediquei muito para poder chegar a um equilíbrio entre os dois lados, usando recursos visuais e definições bem claras para os termos técnicos”, ele declarou.
Um dos aspectos mais gratificantes da série foi constatar que é possível reunir profissionais arquivísticos e líderes ativistas, todos trabalhando para preservar registros importantes de memória no campo dos direitos humanos, em um só espaço, mesmo sendo um espaço virtual, para compartilhar seu trabalho e suas perspectivas e se enriquecerem mutuamente. David explicou isso dizendo que “o normal é trabalharmos individualmente com cada organização parceira para auxiliá-la a administrar seu projeto de digitalização, com a meta de capturar todas as coleções daquela entidade e reuní-las no LADI para incentivar usuários a estabelecer conexões entre elas. Mas muitas das nossas parceiras não se restringem à guarda de coleções de documentos históricos; elas estão engajadas em tempo real na luta em prol de suas comunidades. Elas são, portanto, muito melhor equipadas para ajudar uma à outra a traçar estratégias e conseguir êxito nesse trabalho do que nós. Sendo assim, dar a elas o espaço para formar essas conexões diretas umas com as outras é realmente importante. E isso é muito validador para nós também, porque essa tem sido uma das nossas metas há anos já: queremos ser apenas um elo de uma rede de parceiras; não queremos estar no centro da rede”.
* Arquivística pós-custodial é um processo utilizado para preservar digitalmente certos arquivos, muitos deles vulneráveis, e disponibilizar essas versões digitais para o mundo inteiro aumentando, assim, o acesso aos conteúdos e assegurando, ao mesmo tempo, que eles permaneçam sob a guarda e os cuidados de suas comunidades de origem. A LLILAS Benson é uma pioneira desta prática.
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.
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.
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.
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)
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.
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.
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.
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.
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)
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.
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.
“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 hasmade somestrides, but largely fromstudents and early career scholars, raising the questions about just who is Classics ‘for’?
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.
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.
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.
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.
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.
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
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.
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.
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
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.
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.
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.
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.
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.”
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
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
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
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
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.
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.
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
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
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.
hopefully, the goal is to come up with an ACRL proposal so that we can do that
TL: Congratulations on be
the first class and being first class.
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.
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).
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.
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.”
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.”
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.
Over the summer, LLILAS Benson and El Salvador’s Museum of the Word and the Image (often referred to by its acronym, MUPI, for Museo de la Palabra y la Imagen) added yet another digital initiative to their long-standing partnership. Since 2012, the two institutions have worked closely to digitize archival materials related to the Salvadoran Civil War (1980-1992), thanks to the generous support of the Andrew W. Mellon Foundation. While continuing these efforts, this time around the collaboration explored the potential of digital humanities tools to showcase one of MUPI’s most visually compelling collections—embroidered refugee accounts.
Testimonies of human rights violations come in different forms, and MUPI’s founder and current director, Carlos “Santiago” Henríquez Consalvi, has actively sought to preserve the diversity. Soon after the signing of the 1992 Chapultepec Peace Accords that ended the Salvadoran Civil War, Santiago directed a campaign to rescue cultural heritage created prior to, during, and after the armed conflict. This has included political propaganda, periodicals, and the Radio Venceremos station recordings. Since its formal foundation in 1999, MUPI has continued this preservation and expanded its collecting and educational scope to include various topics in Salvadoran culture and history.
Its most recent growing collection—and the focus of this newest collaboration—consists of remarkable embroidered testimonies created by refugee Salvadoran peasant women in Honduras during the civil war. These pieces were meant to communicate to the world the refugees’ lived experiences, with many of the textiles being sent to solidarity groups and organizations in Europe and Canada at the time. Thanks to a recent international campaign, over twenty artworks have been repatriated and sent to MUPI. Through community workshops in El Salvador’s countryside, MUPI has striven to renew appreciation for this cultural tradition, promoting the art form and subsequent collecting efforts through an exhibition titled Embroiderers of Memories in San Salvador.
Now that the testimonies are making their way back home, MUPI is using digital technologies to continue the advocacy work these women began in the 1980s. In an effort to educate a broader and international audience, specifically El Salvadoran-descendant youth in the United States, the Museum worked with LLILAS Benson Digital Scholarship (LBDS) staff to recreate Embroiderers of Memories online. This past June, the LBDS team went to San Salvador and trained MUPI exhibition designer Pedro Durán on how to create digital exhibitions in LLILAS Benson’s Omeka platform so that he could reconceive his design online using working scans of the embroidery. The LBDS team also took the opportunity to introduce MUPI staff to other open-source digital humanities tools that could enrich MUPI’s active engagement with local youth groups.
The visit also launched another post-custodial archival project for both institutions. The initiative required an entirely different approach to digitization and new equipment training, considering the size of some of these artworks; for example, the piece pictured at the beginning of this blog was over 8 feet long. Pre-trained by the Benson’s post-custodial (PC) staff, the LBDS team worked with MUPI staff to start the archival-quality digitization and item-level description of the embroidery collection. The PC team hopes to incorporate the collection into LLILAS Benson’s Latin American Digital Initiatives later this year, so stay tuned.
Museo de la Palabra y la Imagen
Carlos “Santiago” Henríquez Consalvi (MUPI Director)
Carlos Colorado (Digitization Coordinator)
Pedro Durán (Graphic Designer)
Jakelyn López (Archive Coordinator)
Dr. Jennifer Isasi (CLIR Postdoctoral Fellow)
Albert A. Palacios (Digital Scholarship Coordinator)