Category Archives: Libraries

AILLA Road Trip: Teaching about the Indigenous Language Archive in Rural Oaxaca

BY EDEN EWING

When I arrived in San Marcos Zacatepec in rural Oaxaca, it was dark outside. A kind Chatino-speaking woman cooked me food: chicken soup with homemade tortillas. Dr. Anthony Woodbury from the UT Department of Linguistics and I had been traveling since early that morning, first arriving in Mexico City from Austin and then Puerto Escondido after a several-hour layover. We had to take a bus for several more hours to get to San Marcos Zacatepec, a town in the Sierra Madre de Oaxaca mountains and the first I would visit during my trek. This was the setting for the community outreach and research work I would be undertaking during spring break.

The Chatino-speaking region of Oaxaca is breathtakingly beautiful. All three communities that I visited are nestled in the Sierra Madre del Sur mountain range. Zacatepec is at the lowest altitude of all the Chatino-speaking communities that I visited, so it can get fairly hot during the day. However, San Juan Quiahije, another Chatino community, is several thousand feet higher up the mountain—cooler during the day and quite cold at night.

A sweeping line of mountains brownish-green, clouds of white, blue, and gray, with blue sky in the distance.
Although it wasn’t as lush as San Marcos Zacatepec, there was a beautiful view of the mountains from my balcony in San Juan Quiahije.

I am a dual-degree master’s student in Latin American Studies and Information Studies at The University of Texas at Austin, working to become an academic librarian with a subject specialty in Latin American and Indigenous Studies. I had come to Oaxaca with a clear goal in mind: to teach several workshops on archival access and navigation for the Archive of the Indigenous Languages of Latin America (AILLA), a digital archive at the Nettie Lee Benson Latin American Collection. Dr. Susan Kung, AILLA’s coordinator, invited me to take part in a project with Dr. Emiliana Cruz, professor of anthropology at CIESAS–Mexico, and Dr. Anthony Woodbury, professor of linguistics at UT Austin. As part of the project, I spent my spring break in three Chatino-speaking villages: San Marcos Zacatepec, San Juan Quiahije, and San Miguel Panixtlahuaca. Several local language activists and teachers in the community wanted to be able to use the materials in AILLA to learn Chatino and listen to oral histories and stories in the language.

I agreed to go without hesitation, thrilled to participate in a project that brings together archivists, academics, and Indigenous community members around cultural materials represented in AILLA’s collections. I had hoped that, by getting access to these materials, Indigenous communities might be able to use them for projects related to the revitalization of their language and traditional cultural practices.


The Chatino Language Documentation Project is the subject of this 2015 article in Life & Letters magazine, which features reflections from several linguist researchers.


I soon learned that each town experienced different issues regarding their fluency in the Chatino language and ability to access AILLA. The vast majority of the population speaks a variant of Eastern Chatino, a language represented by several collections in the archive. San Marcos Zacatepec, however, differed significantly from the other two towns: For one, it is a very small village with poor internet access. Secondly, most of the community members no longer speak Chatino. There are only about 300 speakers left in the town and all of them are elderly. In contrast, the language proficiency is strong in both San Juan Quiahije and San Miguel Panixtlahuaca. While the primary issue in Zacatepec was access to the internet, there did appear to be a connection between a lack of ability to speak Chatino and the teachers having less interest in accessing the archive to find materials to use with schoolchildren.

A pale-gray wall is in the foreground. Painted on the wall is a simple rainbow with dark-gray clouds at each end. On either side of the rainbow, small blocks of different colors are painted, each with a word next to it in black lettering. In the background there is a red brick building with black wrought-iron gates in an archway. A few people are also visible in the background.
San Miguel Panixtlahuaca has educational murals in the center of town. This one shows a rainbow with the names of different colors in Chatino.

Community Workshops & the Technology Gap

In total, I taught five workshops on how to access and navigate AILLA in various spaces for different audiences: one small-group workshop at a community member’s house and another at a middle school in San Marcos Zacatepec; one each at a middle and a high school in San Juan Quiahije; and a final one at a public library in San Miguel Panixtlahuaca. Two of the workshops were conducted by myself and the other three were conducted with Dr. Cruz.

Each workshop had its own dynamic. For the first workshop we conducted in San Marcos Zacatepec, we played a game during which an older speaker would say a word in Spanish and the children had to say the word in Chatino. Some of the kids actually knew more Chatino than I thought they did, but it still felt like older members of the community were more invested in what was happening than the children were. In addition, without an internet connection or access to a space for our projector, it was not possible to demonstrate the use of the archive.

The second workshop in San Marcos Zacatepec was held at a private home with a small group of people. This session included Christian, a ten-year-old who brought his Chatino de Panixtlahuaca writing workbooks with him. Everyone was serious about learning how to use the archive and engaged throughout the session. I even saw one person making a PowerPoint with AILLA instructions as I walked the group through how to register for an account and navigate the Chatino language collections.

A boy looks at a cell phone. To his right, the author stands, pointing at something on the phone's screen. In the background there are visible two men, trees, and part of a red house.
I taught Christian how to look at the AILLA collections of many different languages across Latin America.

Unexpectedly, the experience gave me insight on how to effectively organize workshops that connect communities to information resources, a key skill for any academic librarian. Although Dr. Cruz was with me at the middle school in San Juan Quiahije, I taught the workshop at the high school there by myself. This meant coordinating a session with around 40 high school students by myself. This was the first time I had taught a workshop to such a large group of people. It was challenging and I was a little nervous, but the experience was exactly what I needed to become a better information professional.

One issue that became glaringly clear was that technological requirements can be a huge barrier to access for rural Global South communities. In the middle school in San Marcos Zacatepec, there was no internet, so we were not able to actively demonstrate the archive. Although San Juan Quiahije and San Miguel Panixtlahuaca had much better internet, we still experienced technological problems. For example, in San Juan Quiahije, we quickly found out that a majority of the middle school students did not have email addresses, so we had to spend part of the workshop teaching them how to make Gmail accounts. At the high school in San Juan Quiahije, there were issues with power outlets not working. I learned that archivists need to be prepared for anything, be creative, and really reflect on the sort of technology that a community might have access to.

Exterior wall of a building with a brightly painted mural on one part. The mural shows a scene with fruits, vegetables, and trees on green land, with darker-green mountains in the background and a blue sky beyond it. Objects on the mural have white numbers painted near them. Below the painting there is a list of numbers with words, painted in black. Each word is the Chatino term for its corresponding image in the painting.
Murals with the names of fruits and vegetables were on the walls at the Chatino Culture Museum in San Miguel Panixtlahuaca.

The Need for Continuity

Despite the numerous technological problems, this project provides us with a positive example of how archives can engage with communities whose materials are represented in AILLA’s collections. As I reflected on my experience, I realized that this cannot be the end of our relationship with the Chatino-speaking community. Rather, to ensure that these efforts are successful, this should be seen as the beginning of many more projects along these lines. The experience vindicated my belief that communities whose materials are represented in archives must have access to them, and that we should do whatever we can to facilitate that access.

LLILAS Benson is a proponent of projects that emphasize horizontal relationships with the communities and organizations represented in its archives and collections. As such, LLILAS Benson’s digital resources and digital initiatives hold a great deal of promise for future collaboration of this kind.


Eden Ewing is a dual-degree master’s student at LLILAS and the iSchool.


Related Links

Making Books and Tools Speak Chatino: Interview with Hilaria Cruz*

How Languages Get Writing Systems: An Interview with Hilaria Cruz

* Dr. Hilaria Cruz a Chatino-speaking linguist, is the sister of Dr. Emiliana Cruz and a UT Austin alumna.

Read Hot and Digitized: Preserving the Outcasts with The Queer Zine Archive Project

Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.

Zines have long been a medium for weirdos, freaks, and outcasts on the margins, which means they’ve been a staple of queer expression. The Queer Zine Archive Project (QZAP) has been digitizing and preserving queer zines for twenty years

First of all, what are zines? Zines are DIY publications, usually staple-bound and made with printer paper. They’re cheap and easy to produce, and most zine makers give them away for free or sell them at low prices to recoup costs. This allows them to bypass mainstream publishers, so zines are often a medium for marginalized and radical voices. 

Zines developed out of Science Fiction fan culture in the 1930s. In the 1970s, the onset of photocopying technology coincided with the rise of punk music. Punk fans (who often overlapped with Sci-fi fans) latched onto zines as a way to write about their favorite bands, share stories, and build community. As such, zines have always been a venue for outsider expression and radical politics. In the 1990s, feminist and queer zine makers really took hold of the medium. Punk communities might have been made up of outcasts, but they weren’t immune to misogyny and homophobia. Women and LGBTQ punks experienced marginalization and discrimination within their scenes, and zines provided a much-needed space to voice these experiences and find other like-minded queers. 

So a project like QZAP is pretty revolutionary! This searchable database is run by a collective based in Milwaukee, Wisconsin, and it is and will remain free and open to use. QZAP’s goal is to create a “living history” so they continue to accept new submissions from contemporary queer zine makers. They hold a broad definition of “queer,” too, recognizing that identities and language change over time. Zine makers submit their physical zines to QZAP, and collective members, usually librarians, archivists, scholars, and graduate students, scan the zines and create the metadata. Like zines themselves, QZAP is a DIY enterprise!

QZAP’s homepage features a rotation of different zine covers. This featured zine is about the representation of Black Lesbians in the Lesbian Herstory Archives.

QZAP allows users to browse zines, which is one of my favorite ways to explore their collections. With so much interesting and obscure content, browsing QZAP’s collection is a fun, serendipitous experience. QZAP also has an Advanced Search option for users to find zines by author, place of publication, or year of publication. I’ve used QZAP when working with Women’s & Gender Studies classes so students can see a broad set of queer zines over time. While the website’s look and feel are pretty simple and the technology is a bit dated, students respond enthusiastically to the content. I think QZAP’s simple design and stable technology have made it a sustainable project, especially because it is run by a volunteer collective independent of a university or institution. 

Here’s a screenshot of a digitized zine and its metadata record in QZAP. I like that the metadata is so prominent next to the digital object.

One of my favorite things about QZAP is that it uses a specialized metadata schema just for zines called xZINECOREx, based on the more common DublinCore schema. Cataloging and describing zines are challenging. They often don’t have a title page with publication information. Sometimes no author or creator is listed, or the author goes by a pseudonym. Maybe they have a publication date, but often they do not.

A sample record using the xZINECOREx metadata schema.

Given these complexities, libraries and archives handle describing zines in all sorts of ways. The xZINECOREx schema provides a standard that can be used across institutions and by independent projects like QZAP. QZAP contributes metadata from its collection to the Zine Union Catalog, which aims to be a single place to search for zines across multiple libraries, archives, and independent collections. Because zines are ephemeral, this catalog is a great resource for scholars interested in the history of zines. 

A digital collection like QZAP is vital to preserving the history of these rare, hard-to-find publications, yet there remains great value in studying physical zines. The physical objects provide the reader with a unique, tactile experience. This is especially important for LGBTQ+ history, which is so often erased or hidden. Reading a personal, first-hand account from a queer punk in the 90s – from the actual paper zine that person made by hand – is visceral and powerful. It’s an experience hard to replicate in an online setting. If you find QZAP intriguing, I encourage you to stop by our Zine Collection on the 5th floor of the Fine Arts Library. Our collection has many queer zines, including many published in Texas, and dates back to the 1990s.  

Want to learn more about zines? Check out these resources:

Libraries Partners in Exhibition Celebrating Black Classicists

The University of Texas Libraries is collaborating with other local heritage institutions to highlight the contributions of Black historians to the study of antiquity.

“Black Classicists in Texas” is a free public exhibition, celebrating the life and work of classicists of color in Austin and Central Texas. In 1900, Reuben Shannon Lovinggood, the Chair of the Greek and Latin Department at Wiley College in Marshall, Texas, made an impassioned argument against those who minimized the value of liberal education, especially Classics, for Black people. In the same year, Lovinggood became the first president of Samuel Huston College (now Huston-Tillotson University), and a pillar of the Austin Black community.

But he was not the only one.

The exhibition tells the story of Central Texas’ early educators of color and their passion for the study of antiquity. Explore images, archival materials, interviews, and current scholarship to find out more about Lovinggood, L.C. Anderson, H.T. Kealing and their vibrant community of scholars, students and public intellectuals. Learn about Classics and its place in historic debates on Black self-determination, and find out more about classical education in Austin today.

This exhibition is a collaboration between the Department of Classics at the University of Texas at Austin, University of Texas Libraries, the Black Diaspora Archive at the LLILAS Benson Latin American Studies and Collections, the Downs-Jones Library at Huston-Tillotson University, and the George Washington Carver Museum and Cultural Center.Visit the three exhibition sites at the Benson Collection at the University of Texas at Austin, Huston-Tillotson University, and the Carver Museum.

For more information on the exhibitions, including a self-guided tour and additional resources, visit the Black Classicists in Texas website at https://bcatx.org/.

“Black Classicists in Texas” will be on view through December 22, 2023.


Over the past year, Adriana Cásarez, U.S. Studies and African Studies Librarian, played a key role in coordinating the “Black Classicists in Texas” exhibition project, and worked in partnership with Libraries’ colleagues Rachel E. Winston, Dr. D Ryan Lynch, Dr. Lorraine J. Haricombe, Shiela Winchester, Mary Rader, and Aaron Choate.

Casarez was interviewed about the exhibit on the Texas Standard, which you can listen to here.

The Missing Link: Peer Learning for Linked Data

Over the last decade, there has been a proliferation of initiatives by GLAM institutions (Galleries, Libraries, Archives and Museums) using Linked Open Data technologies to enhance access to their collections. From nation-wide collaborative campaigns, such as the Program for Cooperative Cataloging Wikidata Pilot, to paradigm-shifting implementations, such as the transition of the Library of Congress cataloging operations to a hybrid MARC and BIBFRAME environment, the growing availability of tools, ontologies and platforms are finally allowing cultural heritage institutions to explore the promises of linked data.

Librarians and archivists see the potential in Wikidata as a pragmatic solution for managing local authorities in a linked data environment; Wikidata is increasingly used for research and increasingly integrated into software applications, including Library Service Platforms like Alma/Primo.

The UT Linked Data Learning Group, an informal community of practice at The University of Texas at Austin, composed of professional staff working in archives and libraries, convenes monthly to address the need for pragmatic ways to integrate linked data into routine workflows. We collaborate to build knowledge, skills, and institutional support for linked data initiatives in our respective institutions.

In 2022, group efforts focused on building knowledge and skills around Wikidata. Some members of the UT Linked Data Learning Group have been exploring and using Wikidata in various projects in recent years. This group aspired to leverage those members’ knowledge and skills to train other staff through a hands-on peer learning experience, with intentions to expand awareness and surface opportunities for integrating Wikidata into existing and future work. To that end, group members designed and delivered a 2-day virtual Wikidata Workshop on January 12-13, 2023.

Workshop Outcomes

Goals achieved:

  • Staff familiarity with Wikidata and Linked Data
  • Enhanced linked data ecosystem relevant to Texas Cultural Heritage
  • Expanded impact of Handbook of Texas diversification efforts (adding & enhancing Wikidata entries about Texas women)

Building a community of practice – campus representation among 36 registrants:

  • UT Libraries Content Management unit
  • UT Libraries Access Systems unit
  • UT Libraries Branch & Borrower Services unit
  • UT Libraries Stewardship department
  • UT Libraries Alexander Architectural Archives
  • UT Libraries Benson Latin American Collection
  • Harry Ransom Center
  • Briscoe Center for American History
  • Tarlton Law Library
  • Texas Digital Library
  • School of Information

Hands-on peer learning to build new skills:

  • 21 active editors contributed to Wikidata throughout the workshop. Some continued with contributions after the workshop.
  • 31 new items created in Wikidata for entries represented in the Handbook of Texas
  • 74 existing Wikidata items updated with data from the Handbook of Texas
  • 835 new references for Wikidata statements citing the Handbook of Texas as a source
Infographic of workshop outcomes

Individuals involved in designing and delivering the workshop: Melanie Cofield, Head of Access Systems, University of Texas Libraries (UTL); Brenna Edwards, Manager for Digital Archives, Harry Ransom Center; Paloma Graciani-Picardo, Metadata Librarian and Head, Printed & Published Media, Harry Ransom Center; Katie Pierce Meyer, Head of Architectural Collections, UTL; Michael Shensky, Head of Research Data Services, UTL; Yogita Sharma, Alexander Architectural Archives team member, UTL; and Elliot Williams, former DPLA Metadata Aggregation Outreach Coordinator for Texas Digital Library.

Los del Valle Oral Histories Available at Libraries’ Collections Portal

The Benson Latin American Collection at The University of Texas at Austin has made a significant oral history archive featuring voices of the Rio Grande Valley of South Texas and Northern Mexico available online through the Libraries’ Collections Portal.

University of Texas Rio Grande Valley history professor Manuel F. Medrano launched the Los del Valle Oral History Project in 1993 with the goal of collecting and preserving historical memories in the Rio Grande Valley, a region that has been historically underrepresented in archival and published research. Many of the original interviews were broadcast in edited form on local public access television. The collection of nearly 300 videos was transferred to the Benson Latin American Collection in 2015.

Raw footage of an interview with Dr. Américo Paredes, 1995. Dr. Paredes discusses how his parents came to Brownsville, his advice for writers, and the publication of his dissertation \With a Pistol in His Hand.

“By making the Los del Valle Oral History Project fully available online, the Benson highlights the immense intellectual and cultural contributions of the people of the lower Rio Grande Valley to the state of Texas,” says John Morán González, J. Frank Dobie Regents Professor of American and English Literature and former director of the university’s Center for Mexican American Studies. “Scholars, students, and the general public now have access to key figures and ideas that will surely enrich our understanding of this unique borderlands region.”

Los del Valle (Spanish for “those of the Valley”) is a term used to describe Mexican Americans who live in the rural South Texas, especially those in Hidalgo, Starr and Cameron Counties. These predominantly Mexican American communities, some of which predate the modern border between Mexico and the United States, represent a vibrant culture along this historically fluid border. Interviewees come from both sides of the modern border, and include writers Rolando Hinojosa-Smith, Carmen Tafolla and Oscar Cásares; scholar and folklorist Américo Paredes; educator Juliet Garcia; artist Carmen Lomas Garza; and accordionist Narciso Martínez. Other subjects include shrimp boat workers, Charro Days participants, World War II veterans and filmmaker Gregory Nava. These interviews cover a wide range of topics, from the early days of settlement in the region to the Chicano Movement and beyond.

An interview with Carmen Lomas Garza, a Chicana artist born in Kingsville, Texas, who talks about her art career. Lomas Garza talks about racial discrimination toward Mexican American families, and shares the influence and involvement of the Chicano movement in her life.

“Professor Manuel Medrano and his team have gifted us with an important resource that helps us understand the history of the Rio Grande Valley. By doing so, it places the RGV in the context of Texas and, more broadly, the U.S.,” says Maggie Rivas-Rodriguez, director of the Voces Oral History Center and the Center for Mexican American Studies.

“Oral history is key in documenting the perspective of the Latino community—too few Latinos/as will leave diaries, letters, and other records to a publicly accessible archive,” says Rivas-Rodriguez. “But even in the case of people like Américo Paredes, who did in fact leave his papers at the Benson, oral history provides context that would otherwise be unattainable.”

Interviews with Members of the 124th Cavalry Regiment at the 30th Annual Reunion. Interviews with members of the 124th Cavalry Regiment and their wives about their background, their memories of World War II, and what the reunion means to them.

Learn more about the specific holdings in the Los del Valle Oral History Project at Texas Archival Resources Online, or browse the online collection in the Libraries’ Collections Portal.

Los del Valle Oral History Project Archive was digitized with funds from the Latin American Materials Project (LAMP), Center for Research Libraries.

Librarians Contribute to New Podcast Series about Archival Materials and Counter Narratives

On Wednesday, 29 March 2023, the Andrew W. Mellon Fellowship for Diversity, Inclusion, and Cultural Heritage at Rare Book School launched Counter Narratives in Practice, a podcast series about multicultural heritage collections, storytelling, and representation in galleries, libraries, archives, museums, and beyond. This podcast is part of a larger project that highlights the work of the RBS Cultural Heritage Fellows.

The Fellows, led by book historian Allie Alvis, worked together from across the U.S. to tell stories about the archival materials in their collections and how those stories can prompt thinking about counter narratives in professional practice.

The University of Texas Libraries’ Liaison for Middle Eastern Studies Dale Correa and Black Diaspora Archivist Rachel Winston are contributors to the project.

The podcast episodes, which are now all available, include:

Archiving Political Histories that Shape Education and Disconnection and Accessibility in the Archive
Guests highlight the roles of Indigenous advocacy, settler colonialism, disability, and accessibility in archival collections.

We Were Never Silent: Immigrant Narratives & Caribbean Print Culture as Counter Narrative and We Were Never Silent: Bilingual Text in the Ottoman Empire & Pidgin English in Chinese Text as Counter Narratives
Guests explore immigration, oral history, and music as they relate to formal and informal institutions of memory.

Hidden Histories: African American, Asian American, and Afro-Asian Relationality and Hidden Histories: Immigrant Farm Workers and Black Intellectual Histories
Guests discuss Florida Farmworkers, Covid-19, and the importance of documenting marginalized stories.

The Cultural Heritage Fellows Podcast Team are:

Ellen-Rae Cachola, University of Hawaiʻi at Mānoa School of Law Library

Talea Anderson, Washington State University

Azalea Camacho, California State University, Los Angeles

Sandy Enriquez, University of California Riverside

Amalia Medina Castañeda, California State University, Dominguez Hills

Milton Machuca-Galvez, University of Kansas

Dale J. Correa, University of Texas at Austin

DeLisa Minor Harris, Fisk University

Rachel E. Winston, University of Texas at Austin

Suzanne Im, University of California, Irvine

Meaghan Alston, University of North Carolina at Chapel Hill

Margarita Vargas-Betancourt, University of Florida

Jina DuVernay, Gwinnett County Public Library

Victor Betts, North Carolina State University Libraries

Patrice Green, Penn State University Libraries

Annual ¡A Viva Voz! Event to Feature Chicana / Tejana Artist Santa Barraza, Exhibition Opening

The Nettie Lee Benson Latin American Collection is proud to host the 21st Annual ¡A Viva Voz! Celebration of U.S. Latino/a/x Culture, featuring a conversation with Chicana/Tejana artist Santa Barraza.

Santa Barraza, courtesy Juan Johnson Lopez

A native of Kingsville, Texas, Santa Barraza is a contemporary artist and founder of Barraza Fine Art, LLC, a gallery and studio committed to furthering the appreciation of the visual arts in the borderlands and among isolated, rural populations.

Barraza’s artwork is in the permanent collections of museums in Texas, California, and Maine; the Smithsonian Institution in Washington, DC; France; Germany; and Spain. Most recently, her work is on view in the art museums of Denver, Albuquerque, and San Antonio as part of Traitor, Survivor, Icon: The Legacy of La Malinche; the Mexic-Arte Museum in Austin for Chicano/a Art, Movimiento y Más en Austen, Tejas, 1960s–1980s; and for the Art in Embassies exhibition organized in Mexico City by the U.S. Department of State and U.S. Ambassador to Mexico Ken Salazar.

The ¡A Viva Voz! event also marks the opening of the exhibition Legacies of Nepantla: Artists Affirming Identity and Existence, curated by Maribel Falcón, the Benson’s U.S. Latina/o/x Studies Librarian. The exhibition showcases work that is part of the Benson’s archival holdings. It will be on view in the Benson’s Ann Hartness Reading Room through mid-August 2023.

“The exhibition showcases work from women whose myriad identities include Chicana, Native American, Tejana, and Latina, in addition to mothers, sisters, organizers, artists, activists, teachers, and students,” said Falcón. “Many of the featured artists are established as leaders in their communities and recognized as pillars of the Chicano/a art world, such as Santa Barraza, Carmen Lomas Garza, Patssi Valdez, Yreina D. Cervántez, Ester Hernandez, Irene Pérez, and Alma López.”


If You Go ¡A Viva Voz! takes place in the Benson Latin American Collection (2300 Red River Street, SRH 1) on Thursday, April 6, from 6 to 8 p.m. Light refreshments provided by The Local Explorer Mezcal and La Cocina de Consuelo; vinyl sounds by Chulita Vinyl Club. 

Due to an event at the Moody Center, parking is limited. We encourage attendees to use alternative forms of transportation. City of Austin street parking is available on Dean Keaton and on Red River north of Clyde Littlefield.

This event is free and open to the public. For more information, contact Susanna Sharpe.


Image: Cihuateteo con Coyolxauhqui y La Guadalupana, Santa Barraza, 1996

The John S. and Drucie R. Chase Building Archive

BY JEREMY THOMPSON

The Black Diaspora Archive (BDA) at The University of Texas at Austin documents the Black experience in the Americas and the Caribbean through the voices and stories of those who have championed the Black spaces that we use and benefit from today. Diaspora is defined as the “dispersion of any people from their original homeland,” and often when evoked with the Black experience in America, means the historical movement and displacement of Africans from their native homeland.

For the Black community in Austin, diaspora is a much more recent and closer-to-home event as its established Black communities are under threat of disappearing. Through the use of oral histories, the John S. and Drucie R. Chase Building Archive tells the story of the herding of the Black community into East Austin, the Black establishments and schools that grew during this time, and the subsequent displacement that has occurred in recent times. While much has changed for the Black community in East Austin, one building has stood in service of its community while enduring its own share of transformation. 

Line drawing of a one-story building facade in white on a solid orange background; white lettering says The John S. and Drucie R. Chase Building.
Image used to herald the opening of the newly renovated Chase Building

The building at 1191 Navasota Street in East Austin was built in 1952 to house what was then the Colored Teachers State Association of Texas (CTSAT). The CTSAT commissioned the building to serve as its headquarters and tapped John Saunders Chase as the architect to design the building. Chase was the first African American to graduate from the University of Texas at Austin’s School of Architecture and first to become a licensed architect in the state of Texas. The building that Chase designed would serve the CTSAT for 14 years before the association voluntarily dissolved in 1966 to merge with the Texas State Teachers Association. In 1968, the building was purchased by Dr. Ella Mae Pease and would become the House of Elegance. Now a beauty salon, the building served as a social hub for Black community in East Austin and a focal point for social events that Pease would facilitate. During its time as the House of Elegance, the building was added to the National Register of Historic Places.

Photograph of a one-story building with some brick on the facade. A small sign on the building reads House of Elegance in cursive writing.
The House of Elegance pictured at the end of its reign

After decades of service, the building was purchased in 2018 by the University of Texas at Austin and christened the John S. and Drucie R. Chase Building. Dr. Suchitra Gururaj, Assistant Vice President for Community and Economic Engagement, explains the decision to purchase the building:

“The idea for renovating the building came about in 2017, when House of Elegance owner, Pearl Cox, decided to sell the property. Former UT President Greg Fenves saw an opportunity to bring prominence to the university with the purchase of the first property designed by John S. Chase, the first Black/African American graduate of UT’s School of Architecture. When the purchase was made, we proposed that the space be repurposed as our next Center for Community Engagement (CCE) of the Division of Diversity and Community Engagement (DDCE). We consider the CCE to be the ‘front porch’ of our university, inviting community members and residents to connect with a large, decentralized, and often intimidating university that has not always welcomed people from diverse communities. In re-creating the Chase Building, we were not only able to celebrate Mr. and Mrs. Chase’s legacy but also to create a new life for the building that represented the intersection of diversity and community engagement. Like successful community engagement practice, our process of renovation was also collaborative, drawing on the mentorship of Donna Carter and relying on the expertise of Dorothy Fojtik and Nathan Goodman at UT Project Management and Construction Services. Over the period of the renovation, the project transformed from a simple university construction project into a true labor of love.”

Donna Carter, the first African American woman to become a licensed architect in Austin, led the effort to renovate the Chase Building. In 2022, the Chase Building reopened as the base for the Center of Community Engagement (CCE). This department within UT’s Division of Diversity for Community Engagement works to deploy university resources to foster connections with the community and meet community needs. In an effort to document the change that the Chase Building and East Austin have undergone over the years, the CCE began to conduct interviews with community members in 2019 and 2020 centering around the Robertson Hill neighborhood, the area that was home to the building. This project was advocated for by the Robertson Hill Neighborhood Association, which also suggested community members to interview for this project. The product of these interviews is the collection of oral histories and photographs that make up the John S. and Drucie R. Chase Building Archive. Housed in the BDA’s archival collection, these oral histories cover a range of topics including education, churches, and race and the City of Austin.

A black-and-white photo of Black boys and girls of various ages, as well as a male and female adult, who are posed for a school photo.
Archival photograph depicting a class from Blackshear Elementary

The Chase Building Archive consists of nine interviews with members of the East Austin community who have witnessed the change in the area. In her oral history, Mrs. Patricia Calhoun reminisces about growing up in the Robertson Hill neighborhood. She speaks about the streets that she grew up on that still remain today and the establishments in the community that do not. When talking about the importance of Black stories, Calhoun states, “Our stories are important to us because we’ve been here for generations, and yet the community is changing so rapidly that we could be erased without a thought.” This sentiment about the transformation of East Austin and the diminishing presence of its original community is observed throughout the collection. Mr. Clifton Vandyke Sr. jokingly remarks during his interview that “if we aren’t careful, this will be just like visiting a museum where people will come and say this is where African Americans used to live.” These quotes can be found on one of the four curated vignettes, “Storytelling and History,”  that weave together common themes found throughout the assorted oral histories.

An older Black gentleman in a blue short-sleeved shirt, is seated on a comfortable living room chair. The photo is taken through the lens of a video camera, and the viewer of the camera is also visible.
Mr. Clifton Vandyke Sr. seen through the camera lens during his oral history interview

Another vignette that can be found in the collection revolves around education and its importance with the community. Memories of attending schools like Blackshear Elementary School, Kealing Middle School, and Huston-Tillotson University testify to the many outlets available for education and the community’s pursuit of it. Ms. Lydia Moore spoke about the opportunity to choose which school she could attend after desegregation: “We had been told we would be the first group to have that opportunity to go anywhere we wanted to, but that we’d be ready. We need not be afraid. We need not feel inferior. But we would be ready.” 

The thirst for education within the community sprouted from wanting not only to survive, but thrive in the world. The sentiment of wanting to thrive in East Austin is shared throughout the collection and can also be found in CCE’s efforts to collaborate with the community from the Chase Building. Stephanie Lang, Director for community-facing programs at CCE, expresses the aim of this collection: “As historic East Austin continues to change rapidly, the amazing legacy of these communities are at risk of erasure. This archive is but one of the many efforts being done to preserve these stories and provide a way for many generations to access, reflect on, and honor this important history.” 

Two women pose together in a home, with a kitchen in the background. On the left is a younger Black woman with long dreads, glasses, and red lipstick who is wearing a red-white-and-black scarf; on the right an older Black woman in a bright blue top and dark blue blazer. Both are smiling.
Mrs. Vonnye Rice Gardner (right) poses with Stephanie Lang, who worked as the interviewer for the project

Rachel Winston, Black Diaspora Archivist and steward of the BDA, states, “As we celebrate the legacies of John and Drucie Chase, the work of CCE, and the history of the Chase building, it is necessary to also recognize the local community that has made all of this possible. The interviews in this collection offer an incredible glimpse into the lives and experiences of Austinites from historic, Black East Austin.” 

The John S. and Drucie R. Chase Building Archive is stewarded by the Black Diaspora Archive and can be accessed through a variety of avenues. The oral histories and photographs can be accessed online via the University of Texas Libraries Collections portal, here. The analog artifacts of the collection have been described in the collection’s TARO finding aid and can be requested in the Benson Latin American Collection’s rare books and manuscripts reading room. For more in-depth history about the Chase Building, visit CCE’s showcase on it and their series of videos centered around the building and its surrounding communities. Collections like the Chase Building Archive provide us the opportunity to learn how Black communities and spaces come about, and warn us about the diaspora that looms with their absence. 


Jeremy Thompson is a Diversity Resident Librarian at the University of Texas Libraries.

WHIT’S PICKS: Vol. 11 – GEMS FROM THE HMRC

Resident poet and rock and roll star Harold Whit Williams is in the midst of a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).

Whit’s immersion in local music history and performance qualifies him as an authority as he explores and discovers some of the overlooked gems in this massive trove, and so in this occasional series, he’ll be presenting some of his noteworthy finds.

Earlier installments: Take 1Take 2Take 3Take 4Take 5Take 6Take 7Take 8Take 9, Take 10


Tyler Ramsey / The Valley Wind

Available at Fine Arts Library Onsite Storage

Onetime Band of Horses’ guitarist Tyler Ramsey takes a solo walkabout into deeply-wooded indie folk on The Valley Wind. From the Windham Hill-esque instrumental opener “Raven Shadow” through brooding ballad “1000 Blackbirds,” then on to the Laurel Canyon roots jangle of “Stay Gone” and the post-rock epic closer “All Night,” this collection draws you in to its warm campfire glow and unfolds its sad stories slowly. Ramsey’s reverb-drenched guitars and paper-thin tenor hearken Harvest-era Neil Young, but the songwriting is uniquely his introspective own. If tearjerker “Angel Band” doesn’t put a lump in your throat, check for a pulse.

The Men from O.R.G.A.N.

Available at Fine Arts Library Onsite Storage

This groovy compilation from under-the-radar hipster Italian label S.H.A.D.O. Records pays loving tribute to those bubbly analog organ sounds of the Hammond, Farfisa, etcetera, variety. Standout Euro and Euro-inspired tracks from Remington Super 60, Experimental Pop Band, Tony Goddess (Papas Fritas), and L’augmentation get the festive chamber pop party going, while Louise Philippe’s cover of Lennon/McCartney’s “I’m Only Sleeping” is simply divine. Don your finest threads, grab some wayfarers and a pack of Gauloises, and head towards that sunny Mediterranean beach in your mind.

Unheard (Rarities, 1991-2009) by Louis Philippe

Little Barrie /EP

Available at Fine Arts Library Onsite Storage

Before all the buzz from their Better Call Saul theme song, U.K.’s garage/soul/rock trio Little Barrie thrilled club crowds and vinyl aficionados alike with their fuzzed-out retro tracks. The vibe is vintage – style and audio-wise – and this four song EP lays out a sampler platter of smoky bluesy treats. The slow and sly backstage funk of “Burned Out” has all the swagger needed for a proper British single, while “Mudsticks” comes across like Link Wray on a Death Valley peyote trip. And so as they say across the pond, “Bob’s your uncle.” What a fine introduction to their debut album We Are Little Barrie this is.

Burned Out by Little Barrie

Eden Brent /Ain’t Got No Troubles

Available at Fine Arts Library Onsite Storage

Greenville, Mississippi’s Eden Brent proudly carries forth the banner of boogie-woogie piano blues, all the while mixing in elements of jazz and classic pop. Schooled at the University of North Texas (and even more so on the road with legendary Abie “Boogaloo” Ames), Brent cooks down the musical ingredients of New Orleans, Memphis, and even a pinch of the great American songbook into her own greasy gumbo of groove. Recorded in the Crescent City (with ex-Meter George Porter on bass), the vibe leans more Mardi Gras than Beale Street, but it’s Brent’s Bessie Smith late-night lowdown voice that keeps it all rooted in an earthy Delta mood.

Ain’t Got No Troubles by Eden Brent

Harlem Quartet / Take the A Train

Available at Fine Arts Library Onsite Storage

This critically-acclaimed string quartet put the art music world on notice with their debut album, Take the A Train. That Billy Strayhorn classic certainly shines as a title track, and even adds some needed levity to what is a fairly heavy collection. The bulk of the album is fleshed out by Wynton Marsalis’ brilliant avant-garde Creole-themed work “At the Octoroon Balls,” a modern American chamber music ode to Carnival culture. Other pieces foray into world music, further stretching the boundaries of fixed classical genres. On top of all this high level musicianship (and of even more importance), Harlem Quartet was founded by the Sphinx Foundation, a nonprofit promoting music education while working to build diversity in the field of classical music through outreach to underserved communities.


Harold Whit Williams is a Content Management Specialist in Music & Multimedia Resources. A celebrated poet, he is the longtime guitarist for the indie rock band Cotton Mather, and his solo projects include the lo-fi bedroom pop Daily Worker, as well as the retro funk GERVIN.

Read, Hot & Digitized: Art and Revolution

Read, hot & digitized: Librarians and the digital scholarship they love — In this new series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.

Working at the Nettie Lee Benson Latin American Collection since I began a career in librarianship, I have been fortunate to witness and sometimes participate in various facets of what goes into making the Benson the premiere Latin American collection in the world. The collection has many incomparable features, and depending on a researcher’s interest, they will know the Benson in unique ways from others. For instance, there are those that know the Benson because we hold the papers of Gloria Anzaldúa and Alicia Gaspar de Alba, two groundbreaking Chicana writers. Others will know it because of the Archive of Indigenous Languages of Latin America (AILLA), the digital archive that is a gateway to linguistic preservation and revitalization. Others will know it still because of our wonderful circulating collection, which includes journals, new publications, canonical works, children’s literature, etc. At the Benson we always say that if it exists and is tied to Latin American or US Latinx subject matter, we try to collect it.

One unsurprising aspect of the Benson is our dedication to documenting human rights initiatives. This happens across all of the ways that we do collecting, but I’m thinking specifically about the work that my colleague Theresa Polk and the Latin American Digital Initiatives team do on a daily basis, particularly working with post-custodial partners throughout Latin America to document local, often grassroots struggles.

I couldn’t help but think of her work when I saw a noteworthy digital collection from the University of New Mexico’s esteemed Center for Southwest Research. The collection, “Asamblea de Artistas Revolucionarios de Oaxaca Pictorial Collection,” is described as a “collection of prints, posters, and mural stencils…created by a collective of young Mexican artists that formed during the state of Oaxaca’s 2006 teachers strike.” The strike lasted seven months and turned violent after police opened fire on non-violent protestors representing the teachers’ union. Eventually, various groups forced the police out of the city and set up an anarchist community for several months while unsuccessfully calling for the resignation of then-Oaxacan governor Ulises Ruiz Ortiz. The 127 artworks in this collection reflect this period through themes that include “land rights, political prisoners, government corruption, political violence, police brutality, violence against women, art exhibitions and the nationalization of agriculture and oil.”

The artwork has been digitized and made available on the site using high-resolution scans. One of the strengths of the collection is that users can see a thumbnail and a brief, but useful description of the document, as shown below.

Then, users can click on each individual item for a larger image with richer metadata. Indeed, another strength of the collection is its metadata. While only in English, it contextualizes the image for a deeper understanding.

Another feature of the digital collection is that UNM’s Center for Southwest Research has worked with the Asamblea de Artistas Revolucionas de Oaxaca (ASARO) to archive their blogs and other digital-born materials using Archive-It. Having access to these blogs in a shared digitize space enhances the collection because it preserves ASARO’s voices on the struggle, using their words and their language. Like the metadata, this creates fuller meaning for researchers while fostering a relationship between ASARO and UNM.   

This collection is useful to researchers and classes who are interested in understanding politics and local movements in twenty-first century Mexico. Like the Benson’s Latin American Digital Initiatives, the themes are so varied, making it a useful tool for classes doing interdisciplinary work, and particularly for scholars who are more visually-inclined. In any case, it is a welcome contribution to the study of human rights in Latin America, and a wonderful reminder of the work that libraries do in documenting and preserving historical moments.

Would you like to know more about the teachers’ strike? Check out the following resources we hold at UT Libraries.

La batalla por Oaxaca (2007)

“Women in the Oaxaca Teachers’ Strike and Citizens’ Uprising (2007)

“‘Our Culture’s Not for Sale!’: Music and the Asamblea Popular de los Pueblos de Oaxaca in Mexico” (2021)