Category Archives: IDEA (Inclusivity, Diversity, Equity and Accessibility)

Dando um Zoom: As Oficinas Virtuais da LLILAS Benson e Arquivos Parceiros na América Latina

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Traduzido ao português por Tereza Braga

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.

Coleção Bordados, Museo de la Palabra y la Imagen (MUPI, San Salvador, El Salvador). Este bordado da Comunidad de Santa Marta, Honduras, descreve a vida no refúgio, incluindo vários tipos de trabalho. https://ladi.lib.utexas.edu/pt-br/mupi03

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).

Capa, MOAB: A Saga de um Povo, por Maria Aparecida Mendes Pinto. Livro sobre os 25 anos do MOAB, ou Movimento dos Ameaçados por Barragens na região do Vale do Ribeira (SP, PR). EACCONE, Coleção Quilombos do Vale do Ribeira SP/PR. https://ladi.lib.utexas.edu/pt-br/eaacone01

Outros arquivos parceiros que conseguiram participar da série de oficinas online foram o  Museo de la Palabra y la Imagen (San Salvador, em El Salvador), Oficina de Derechos Humanos del Arzobispado de Guatemala (ODHAG, na Cidade de Guatemala), Proceso de Comunidades Negras (PCN, em Buenaventura, na Colômbia), e Equipe de Articulação e Assessoria às Comunidades Negras do Vale do Ribeira (EAACONE, Vale do Ribeira, no Brasil).

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.

Fotografias, Colección Dinámicas Organizativas del Pueblo Negro en Colombia, Proceso de Comunidades Negras (PCN, Colombia). Esta foto foi tomada numa reunião da assambleia geral do conselho comunitário do Rio Yurumangí. https://ladi.lib.utexas.edu/pt-br/pcn01

“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”.

Marta, a coordenadora do projeto de digitalização do PCN (esquerda) trabalha com Itza, bibliotecária de metadados da LLILAS Benson, durante uma visita em 2018 para organizar e fazer inventário dos materiais na coleção PCN. (Foto: Anthony Dest)

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.

New Collections Highlighted in Updated Latin American Digital Initiatives Repository

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BY DAVID A. BLISS

More than 60 thousand scanned images from seven archival collections throughout Latin America are now available online in the updated Latin American Digital Initiatives (LADI) repository (ladi.lib.utexas.edu). The site was developed over the course of two years by the LLILAS Benson Digital Initiatives team and University of Texas Libraries software developers, with support from the Andrew W. Mellon Foundation. A previous version of the site, featuring four archival collections, launched in 2015.

¡Alto a la represión del sindicalismo! From the Colección Conflicto Armado, Afiches, collection of the Museo de la Palabra y la Imagen in San Salvador, El Salvador: https://ladi.lib.utexas.edu/en/mupi01
¡Alto a la represión del sindicalismo! [Stop the repression of unionism!] From the Colección Conflicto Armado, Afiches, collection, Museo de la Palabra y la Imagen, San Salvador, El Salvador. https://ladi.lib.utexas.edu/en/mupi01

The digitized images in the LADI repository were created by archive-holding organizations in Latin America in partnership with LLILAS Benson. Partnering organizations produced high-quality scans and detailed metadata about their collections, while LLILAS Benson staff offered equipment, on-site training, and technical consultation under a post-custodial archival framework. The online repository is intended for use by researchers, teachers, and activists, as well as the communities to which the materials belong. The site can be navigated in English, Spanish, and Portuguese.

Manifestaciones reclamando la reglamentación del artículo transitorio 55 [Protests demanding the establishment of Artículo Transitorio 55]. From the Colección Dinámicas Organizativas del Pueblo Negro en Colombia, Proceso de Comunidades Negras, Buenaventura, Colombia. https://ladi.lib.utexas.edu/en/pcn01

The collections found in LADI span the sixteenth through the twenty-first centuries, and were created by project staff at the following partnering organizations: Archivo Judicial del Estado de Puebla (Mexico), BICU-CIDCA (Nicaragua), Centro de Investigaciones Regionales de Mesoamérica (CIRMA, Guatemala), Equipe de Articulação e Assessoria às Comunidades Negras do Vale do Ribeira (EAACONE, Brazil), Museo de la Palabra y la Imagen (MUPI, El Salvador), and Proceso de Comunidades Negras (PCN, Colombia). The variety of materials found in these collections reflects the ethnic and social diversity of Latin America. At the same time, the collections speak to common struggles that reach across temporal and geographic boundaries. The particular thematic strengths of the collections in the repository include Afro-Latinx and Indigenous rights, environmental justice, and Cold War–era internal armed conflicts. The collections are:

  • 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, Mexico)
  • Colección Dinámicas Organizativas del Pueblo Negro en Colombia (PCN, Colombia)
  • Quilombos do Vale do Ribeira SP/PR (EAACONE, Brazil)
MOAB - A saga de um Povo. From the Quilombos do Vale do Ribeira SP/PR collection of the Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira in Eldorado, Brazil:

MOAB – A Saga de um Povo [MOAB – The Saga of a People]. From the Quilombos do Vale do Ribeira SP/PR collection, Equipe de Articulação e Assessorias às Comunidades Negras do Vale do Ribeira, Eldorado, Brazil. https://ladi.lib.utexas.edu/en/eaacone01

About the Site Update

The new version of the site was built from the ground up using an open-source technology stack consisting of Fedora 5, Islandora 8, and Drupal 8, based on the Resource Description Framework (RDF) for linked data. The updated repository infrastructure greatly improves the site’s multilingual capabilities and provides more connections between objects to improve cross-searching and discoverability. The site was developed using a combination of standard Islandora features and custom code, which was contributed back to the Islandora community.

Avalúo de los bienes de Manuel Romero [Appraisal of the assets of Manuel Romero]. Colección Digital Fondo Real de Cholula, Archivo Judicial del Estado de Puebla: https://ladi.lib.utexas.edu/en/frc01
Avalúo de los bienes de Manuel Romero [Appraisal of the assets of Manuel Romero]. Colección Digital Fondo Real de Cholula, Archivo Judicial del Estado de Puebla. https://ladi.lib.utexas.edu/en/frc01

The core project team consisted of David Bliss, Itza Carbajal, Minnie Rangel, Brandon Stennett, and Theresa Polk. The LLILAS Benson Digital Initiatives team would also like to acknowledge the contributions of the many others who supported this project, including the project staff and leadership at each partner organization; scholar liaisons Dr. Anthony Dest, Dr. Lidia Gómez García, Dr. Kelly McDonough, and Dr. Edward Shore; translators Tereza Braga, Jennifer Isasi, Joshua Ortiz Baco, and Albert Palacios; UT Libraries IT services; the UT Libraries Digital Stewardship team; LLILAS Benson Grants Manager Megan Scarborough; the UT Libraries and LLILAS Benson leadership teams; the Andrew W. Mellon Foundation; the Islandora development community; and the graduate research assistants who contributed to the project—Alejandra Martinez, Joshua Ortiz Baco and Elizabeth Peattie.


David A. Bliss is the digital processing archivist for LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin.

Recién actualizado, repositorio digital destaca nuevas colecciones latinoamericanas

POR DAVID A. BLISS / TRADUCIDO POR SUSANNA SHARPE

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

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

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

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

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

Las colecciones

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

Detalles de la versión actualizada

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

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

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


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

Destaque para novas coleções do Repositório Digital Latino-Americano Atualizado

POR DAVID A. BLISS / TRADUZIDO POR TEREZA BRAGA

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

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

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

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

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

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

Detalhes do site atualizado

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

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

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


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

Diverse Adaptations in Classical Literature

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

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

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

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

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

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

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

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

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

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

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

Curated by Carla Alvarez, US Latina/o Archivist, Benson Latin American Collection

On Thursday, February 13, the Benson Latin American Collection and Latino Studies celebrated the opening of the archive of the Center for Mexican American Studies (CMAS) with a reception, exhibition, and a staged reading of some of the archive’s contents. The reading told the emotional and powerful story of the Center’s birth, in the voices of those who fought—sometimes at their own professional peril—for an institutional commitment to Mexican American Studies by the University of Texas.

The room was full, and emotions were palpable and visible. Audience and participants ranged from students to faculty to individuals whose history with CMAS extends back decades. Read an account of the event in the Daily Texan.


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

Founded in 1970, the Center for Mexican American Studies (CMAS) at The University of Texas at Austin benefited from Chicano student activism of the 1960s. Members of the Mexican American Student Organization (MASO) and later the Mexican American Youth Organization (MAYO) demanded equitable representation and resources be devoted to Mexican American studies on the UT campus. After years of activism, the Center was established. It stands as an institutional recognition of the importance of Mexican Americans and Latinos in the history, culture, and the politics of the United States.

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

Since its founding, the Center has fostered Mexican American studies and Latino studies on campus and nationally through partnerships. A founding member of the Inter-UniversityProgram for Latino Research (IUPLR), CMAS has worked toward shaping Latino scholarship and to support the next generation of Latino studies scholars.

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

For nearly thirty years, the Center operated an in-house publishing unit, CMAS Books, which began as a publisher of academic monographs, providing a means for affiliated faculty to share their research with other scholars, but blossomed into an imprint with a broader cultural and scholarly reach. CMAS Books published a series of monographs and several periodicals including journals and newsletters for the Center and sponsored entities like IUPLR.

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

In addition to supporting Mexican American studies on campus and nationally, CMAS had another goal from the beginning—to establish a presence and engage with the larger community. This community engagement has evolved over the years and included partnerships with the Américo Paredes Middle School;La Peña, a community-based arts organization, the Serie Project and Sam Coronado Studio; and a Latino radio project, proudly launched in the early 1990s. That initial radio project eventually developed into the nationally syndicatedLatino USA. The Center has thus firmly established a legacy of expanding and enhancing knowledge of Mexican Americans’ and Latinos’ contributions to the history and culture of the United States.

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

The Center for Mexican American Studies will celebrate its 50th anniversary during the 2020–2021 academic year.The Center now exists as one of three units under Latino Studies at UT, a powerhouse of Latino thought and advocacy that also includes the Department of Mexican American and Latina/o Studies and the Latino Research Institute. Visit liberalarts.utexas.edu/latinostudies for updates on all anniversary festivities, including special events, public conversations, digital retrospectives, and interactive campus installations.

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

CMAS at 50 is on view through July 2, 2020, in the second-floor gallery of the Benson Latin American Collection, SRH Unit 1. To view the list of archival materials online, visit the Texas Archival Resources Online (TARO) CMAS.

Diversity Residents Move On

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

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


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

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

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

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

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

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

NH: For sure.

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

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

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

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

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

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

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

TL: Did the experience meet your expectations?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Three people standing with a large Olmec head sculpture.

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

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

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

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

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

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

TL: What’s next for each of you?

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

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

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

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

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

NH/LT: Thank you!

NH: We’re the first to graduate!

LT: Yay! We get to move our tassle….

Art History Prof Shares Black Press Collection

Friend of the University of Texas Libraries and Art History Professor Eddie Chambers has curated a collection of publications for a display in the reading room at the Fine Arts Library.

Chambers’ exhibit — “Recognizing the History of Black Magazine Publishing in the US” — features selections from his personal collection that represent the burgeoning of an independent press which spoke to the experience of African Americans in the late 20th Century, and includes examples from the period of the publications Ebony, Ebony Jr!, Jet, Black World, Negro Digest and Freedomways.

The exhibit is on display during regular Fine Arts Library hours through the fall semester.

Selection of Jet magazines from the late 20th century.

What motivated you to curate the display?

Eddie Chambers, Professor, Art History: I have over the years collected, for research purposes, various magazines and journals, going back a number of decades. These magazines and journals have particular relevance to African American history, culture, politics, identity, and so on. Some of these I’ve assembled for the current FAL display. I am always attracted to vintage, archival items such as these as they enable us to get a direct feel, not only of the graphics and aesthetics of the times during which they were published, but in reading their texts, we get a direct sense of arguments, reportage and opinions, again, from the respective times.

As with so many things that carry an ‘African American’ prefix, we can perhaps trace the establishment of the Black press to a reluctance by the white-dominated media to pay proper and respectful attention to the agendas of African Americans. Magazines such as Ebony were important for a wide range of reasons including the readership’s ability to keep apprised of the ins and outs of Black celebrity lives, the ins and outs of the struggle for civil rights, going back many a decade, and the ins and outs of stories and issues that lay at the heart of African American existence. With the spectacular growth of the internet, the publishing media is in general, in various levels of retreat. This applies also to the Black press and the display points to the ways in which magazines published weekly or monthly were such an important and necessary means by which African Americans gleaned a wide range of information. And in Ebony magazine, the adverts are as entertaining as can be! It’s not hard for us to be inclined to the view that contemporary issues are different from those people thought about and acted on in decades gone by. Seeing magazines such as these, we might think, or realize, that issues we are concerned with or interested in at the present time, go back years, and decades.

Where are the materials from? 

EC: I have collected the materials over the course of a number of years. Most of the material relates to some or other aspect of my research. For example, I recently acquired a copy of an Ebony issue that trailed on its front cover a feature on the quest for a Black Christ. Sourcing this came about because I am editing a volume – the Routledge Companion to African American Art History – which contains a text by a scholar, looking at visualizations of Christ and Christianity by African American artists. I wanted to double-check quotations by her, from this Ebony issue, in her essay. Material such as these magazines and journals are not frequently available to researchers and scholars, without considerable effort, so I find myself constantly sourcing such material. Having acquired items, I am always keen to share the material, which is why I periodically undertake displays such as this, in the Fine Arts Library (FAL). Right now, I have different archival material loaned out for exhibits that are currently on view at both the Blanton Museum and the Christian Green Gallery, here at UT Austin.

Copy of Ebony Magazine with Jackie Robinson on the cover.

What do you see as the major impacts of the selected publications? 

EC: The types of materials on view represent some of the sources African Americans had to turn to, in order to read stories that reflected themselves. Television was of course very poor at offering anything that was not considered of primarily mainstream (i.e. white) interest. Black publishing — and the adverts it carried — offered a vital route through which African Americans could source hair care products or, more generally, see adverts that featured people who looked like them. The importance of this cannot be overstated.

These magazines were also an environment that stimulated and gave work to Black journalists at a time when the mainstream media was frequently reluctant to. Photographers, typesetters, journalists, sub editors, layout artists, etc., all professionally benefitted from the Black press. We might think that in the modern age, people’s attention spans might be somewhat skewed or compressed, but the stories presented in some of these Black magazines enabled substantial, engaged, complex stories to be told, as well as the lives, loves, and ups and downs of Black celebrity life, to be digested. Of course, a pocket-sized magazine such as Jet offered its readers information in decidedly bite-sized chunks.

The perpetual, systemic framing of African Americans within the white dominated media was one of them as being ‘problems’. African Americans tended to realize that the framing of them as having problems was but a short hop skip and jump away from them being problems. The formidable perception, framed and maintained by the white controlled media, of America having first, Negro, then Afro American, then African American problems was more than enough to persuade African Americans of the need to maintain, for their own sense of self, a Black press that respected the multi-dimensionality of their selfhood. The Black press enabled African Americans to see themselves not as cardboard cutout problems, but as complex human beings who existed in the round.

Of course, it must be added that African Americans relied on the Black press to carry nuanced, informed analyses of the problems they had. In this sense, a profound manifestation of empathy existed between the Black press and its clientele.

Selection of Ebony, Jr. magazines.

How did this era of the Black press influence the representation of African Americans in modern media? 

EC: Modern media is of course vastly different from publishing in decades gone by. One of the biggest influences is perhaps the ways in which white-controlled media has diversified, to an extent, its content. Quite rightly, we expect the New Yorker, the New York Times, and a slew of other media to carry stories that speak to the country’s diversity, including of course, that of the African American demographic. Diversified media content has in its own way perhaps worked to lessen the impact and importance of a distinctly African American branch of publishing. 

There is of course still huge amounts of work to be done, but at the present time, the wholesale exclusion of African Americans from mainstream media, as was the case in decades gone by, is arguably less of an issue at the present time.

CELEBRATING THE BIRTH AND LIFE OF GLORIA ANZALDÚA

“I am a Libra (Virgo cusp) with VI — The Lovers destiny”: Celebrating the Birth and Life of Gloria Anzaldúa by Julia Davila Coppedge

Image of Gloria Anzaldúa by Annie F. Valva.


Her Life

Seventy-seven years ago, on September 26th, Gloria Evangelina Anzaldúa was born to migrant farmers Urbano and Amalia Anzaldúa in Raymondville, Texas. As the oldest of four, she helped work on ranches and farms to help support her family. It was during this time in the Valley that she first learned about discrimination against Mexican Americans. Anzaldúa would later leave South Texas, living in other parts of the state, and in Indiana and California. She would also spend a large part of her career traveling internationally. But, her experiences growing up in the borderlands would influence her writing for the rest of her career, as she alludes to, when states that “I am a turtle, wherever I go I carry ‘home’ on my back.”

Anzaldúa was a self-described “tejana patlache (queer) nepantlera spiritual activist.” Her contributions to U.S. American literature, U.S. feminisms, queer theory, postcolonial theory, and Chicana/o Studies cannot be overstated. Anzaldúa won many awards in her lifetime including the National Endowment for the Arts Fiction Award (1991) and the Lambda Lesbian Small Book Press Award (1991).

Anzaldúa died on May 15, 2004 due to Diabetes-related complications. It is fitting we celebrate Anzaldúa’s life in the middle of Hispanic Heritage Month, which is observed September 15th – October 15th.

Her Time at UT Austin

Anzaldúa received her master’s degree in English and Education in 1972 at UT and returned in 1974 to pursue a PhD in Literature. In the foreword to the third edition of This Bridge Called My Back: Writings By Radical Women of Color, she reflected on her stuggles at UT: “As a Chicana, I felt invisible, alienated from the gringo university and dissatisfied with both el movimiento Chicano and the feminist movement…I rebelled, using my writing to work through my frustrations and make sense of my experiences.”

While at UT Austin, Anzaldúa also taught a class called “La Mujer Chicana.” During this time she struggled to find materials that reflected the experiences of her students, which drove her to edit the anthology.

The class “Ethnicity & Gender: La Chicana” is still offered at UT through the Mexican American and Latina/o Studies (MALS) Department. In 2011 the Center for Mexican American Studies (CMAS) dedicated the West Mall building room 512.6 as the Gloria Anzaldúa Student Activities Room.

Borderlands/La Frontera: The New Mestizaje

Borderlands is a semi-autobiographical collection of poems and essays which draw on Anzaldúa’s experience as a Chicana and lesbian activist. The text is characterized by its sophisticated use of code-switching, “exploring Latinx and Chicana identity while also furthering an artistic vision.” Norma Élia Cantú and Aída Hurtado said in the introduction to the fourth edition:

“When Borderlands was published there was hardly a public discourse addressing multiculturalism. Anzaldúa’s persistent mixing of cultures, languages, and even writing genres, as exemplified in the structure and content of Borderlands, was blasphemous. The ‘cultural wars’ were in full force inside and outside the academy. The 1980s and early 1990s was an era of the mainstream academics fighting to preserve the Western canon and of political mobilization by conservatives to add an amendment to the Constitution establishing English as the official language of the United States…. Under these historical conditions the publication of Borderlands was an act of courage was well as innovative intervention to continue advocating for cultural diversity, the inclusion of sexuality in all academic and political production, and a call to social justice based on inclusion rather than exclusion.”

In January 2012, twenty-five years after it was published, Borderlands was banned in the Tucson Unified School System in Arizona, as a part of a law banning Mexican American Studies in public schools. Pérez and Cantú said the ban “affirms the value of the work even as it attempts to deny it.” This policy was lifted in 2017 after a federal judge in Arizona ruled it unconstitutional.

Borderlands was translated into Italian in 2000 and Spanish in 2015, and a French translation of the book is currently underway. Anzaldúa’s original manuscripts and other written notes and materials for Borderlands can be found in Boxes 32 – 38 of the Gloria Evangelina Anzaldúa Papers collection at the Nettie Lee Benson Latin American Collection.

Her Legacy

In 2001, just three years before she died,  Anzaldúa reflected on the work of feminists of color in the foreword to the third edition of This Bridge Called My Back, saying “Yes, collectively we’ve gone far.” She continued, “But we’ve lost ground–affirmative action has been repealed, the borders have been closed, racism has taken new forms and it’s as pervasive as it was twenty-one years ago.” Eighteen years later the fight of People of Color, the LGBTQIA+ community, and working class people continues.

Emma Pérez says of Anzaldua’s work, “Long after the end of this century, her philosophy will endure. Gloria was an unassuming philosopher-poet whose words will inspire generations. She articulated our past to make sense of our present…She looked to the past to excavate hope for the future.”

This hope is reflected in Gloria Anzaldúa’s words, which inspire us today and are a testament to her lasting impact and legacy:

“This land was Mexican once,

was Indian always,

and is.

And will be again.”

Collection Highlights:

The Gloria Evangelina Anzaldúa Papers [Mixed Materials]

The Nettie Lee Benson Latin American Collection is home to the personal archive of Gloria Anzaldúa, which contains “personal and biographical materials, correspondence, written works, research materials, photographs, audiovisual materials, and artifacts” documenting her life and career.

“The Benson Collection is also composing a complete bibliographic list of Anzaldúa’s personal library of more than 5000 books. This is an ongoing project, and interested researchers should contact the rare books reading room for this information.”

Longhorn Radio Network: Onda Latina

Chicanas And Literature (1977) [Sound Recording]

“Inez Hernandez Tovar and Gloria Anzaldúa discuss the political context and cultural work of Chicana writers. They explain that the Chicano movement provided some Chicano and Chicana writers the support and forums necessary to share their work. While mainstream publishing presses ignored minority voices, Chicanos and other groups were creating their own journals. These journals helped legitimate bilingualism among Chicanos as a vehicle of Chicano expression. Chicanas and Chicanos felt free to publish works written in a mixture of Spanish and English that reflected the language(s) they felt most comfortable in.”

Additional Works By Anzaldúa

This Bridge Called My Back: Writings By Radical Women of Color (4th Edition, 2015) edited by Gloria Anzaldúa [Book]

“A groundbreaking collection reflects an uncompromised definition of feminism by women of color.” Along with Cherríe Moraga, Anzaldúa co-edited this anthology.

Interviews / Entrevistas (2000) edited by AnaLouise Keating [Book]

“In this memoir-like collection, Anzaldúa’s powerful voice speaks clearly and passionately. She recounts her life, explains many aspects of her thought, and explores the intersections between her writings and postcolonial theory. For readers engaged in postcoloniality, feminist theory, ethnic studies, or queer identity, Interviews/Entrevistas will be a key contemporary document.”

The Gloria Anzaldúa Reader (2009) edited by AnaLouise Keating [Book]

“This reader–which provides a representative sample of the poetry, prose, fiction, and experimental autobiographical writing that Anzaldúa produced during her thirty-year career–demonstrates the breadth and philosophical depth of her work. While the reader contains much of Anzaldúa’s published writing (including several pieces now out of print), more than half the material has never before been published. This newly available work offers fresh insights into crucial aspects of Anzaldúa’s life and career, including her upbringing, education, teaching experiences, writing practice and aesthetics, lifelong health struggles, and interest in visual art, as well as her theories of disability, multiculturalism, pedagogy, and spiritual activism.”

Prietita and the Ghostwoman (1995) [Children’s Book]

“Ever since she can remember, Prietita has heard terrifying tales of la llorona — the legendary ghost woman who steals children at night. Against a background of vibrant folk paintings, Gloria Anzaldúa reinterprets, in a bilingual format, one of the most famous Mexican legends. In this version, Prietita discovers that la llorona is not what she expects, but rather a compassionate woman who helps Prietita on her journey of self-discovery.”

Friends From the Other Side / Amigos del otro lado (1993) [Children’s Book]

“Having crossed the Rio Grande into Texas with his mother in search of a new life, Joaquin receives help and friendship from Prietita, a brave young Mexican American girl.”

Works Inspired by Anzaldúa

Imaniman: Poets Writing In the Anzaldúan Borderlands (2016) Edited by Ire’ne Lara Silva and Dan Vera [Book]

“Named for the Nahuatl word meaning “their soul,” IMANIMAN presents work that is sparked from the soul: the individual soul, the communal soul. These poets interrogate, complicate, and personalize the borderlands in transgressive and transformative ways, opening new paths and revisioning old ones for the next generation of spiritual, political, and cultural border crossers.”

Bridging: How Gloria Anzaldúa’s Life and Work Transformed Our Own (2011) edited by AnaLouise Keating and Gloria González-López [Book]

“The inspirational writings of cultural theorist and social justice activist Gloria Anzaldúa have empowered generations of women and men throughout the world. Charting the multiplicity of Anzaldúa’s impact within and beyond academic disciplines, community trenches, and international borders, Bridging presents more than thirty reflections on her work and her life, examining vibrant facets in surprising new ways and inviting readers to engage with these intimate, heartfelt contributions.”

Entre Guadalupe y Malinche: Tejanas In Literature and Art (2016) edited by Inés Hernández and Norma Elia Cantú [Book]

“Mexican and Mexican American women have written about Texas and their lives in the state since colonial times. Edited by fellow Tejanas Inés Hernández-Ávila and Norma Elia Cantú, Entre Guadalupe y Malinche gathers, for the first time, a representative body of work about the lives and experiences of women who identify as Tejanas in both the literary and visual arts.

The writings of more than fifty authors and the artwork of eight artists manifest the nuanced complexity of what it means to be Tejana and how this identity offers alternative perspectives to contemporary notions of Chicana identity, community, and culture.”

This volume was dedicated principally to Gloria Anzaldúa.

Spiritual Mestizaje: Religion, Gender, Race, and Nation In Contemporary Chicana Narrative (2011) by Theresa Delgadillo [Book]

“Delgadillo analyzes the role of spiritual mestizaje in Anzaldúa’s work and in relation to other forms of spirituality and theories of oppression. Illuminating the ways that contemporary Chicana narratives visualize, imagine, and enact Anzaldúa’s theory and method of spiritual mestizaje, Delgadillo interprets novels, memoir, and documentaries. Her critical reading of literary and visual technologies demonstrates how Chicanas challenge normative categories of gender, sexuality, nation, and race by depicting alternative visions of spirituality.”

El Mundo Zurdo: Selected Works from the Meetings of The Society for the Study of Gloria Anzaldúa 2007 & 2009 (2010) edited by Norma Alarcón, Norma Cantú, Christina Gutiérrez, and Rita Urquijo-Ruiz [Book]

“This collection of essays, poetry, and artwork brings together scholarly and creative responses inspired by the life and work of Gloria Anzaldúa. The diverse voices represented in this collection are gathered from the 2007 national conference and 2009 international conference of the Society for the Study of Gloria Anzaldúa (SSGA). More than 30 scholars, activists, poets, and artists contributed to EL MUNDO ZURDO, whose release coincides with the SSGA’s second annual international conference in San Antonio, Texas.”

El Mundo Zurdo 5 : selected works from the 2015 meeting of the Society for the Study of Gloria Anzaldúa (2015) edited by Domino Renee Perez, Larissa M. Mercado-López, and Sonia Saldívar-Hull [Book]

“A collection of diverse essays and poetry that offer scholarly and creative responses inspired by the life and work of Gloria Anzaldúa, selected from the 2015 meeting of The Society for the Study of Gloria Anzaldúa.”

Women reading women writing: self-invention in Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde (1996) by AnaLouise Keating [Book]

“As self-identified lesbians of color, Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde negotiate diverse, sometimes conflicting, sets of personal, political, and professional worlds. Drawing on recent developments in feminist studies and queer theory, AnaLouise Keating examines the ways in which these writers, in both their creative and critical work, engage in self-analysis, cultural critique, and the construction of alternative myths and representations of women.”


Julia Davila Coppedge is the LLILAS Benson User Services GRA. She conducts in-person and online reference requests for patrons using library materials from the Special Collections and circulating collection. Julia is also a 2nd year Master of Science in Information Studies Candidate at UT Austin.

For more inclusive reading lists, visit the blog of the UT Libraries’ Diversity Action Committee.