Tag Archives: Benson Latin American Collection

New Benson exhibition celebrates “El gaucho Martín Fierro”

The Benson Latin American Collection recently inaugurated Martín Fierro: From Marginal Outlaw to National Symbol in the Rare Books Reading Room. Co-curated by Graduate Research Assistants Melissa Aslo de la Torre and Janette Núñez, this exhibition examines the Argentine epic poem El gaucho Martín Fierro and its legacy on the 150th anniversary of the poem’s publication.  Ryan Lynch sat down with Aslo de la Torre (MA) and Núñez (JN) to talk about their process. 


Related: Listen to “An Argentine Gaucho in Texas” on the Benson at 100 podcast. Escuchar este episodio en español.


You write that the Benson has over 380 copies of El gaucho Martín Fierro and La vuelta de Martín Fierro. How did these books come to the Benson?  

JN: A big part of this collection came from two collections that the Benson purchased. One would be the Martínez Reales Gaucho library, purchased in 1961. That contained about 1500 books, pamphlets, and articles and literature of the Argentine cowboy, and more than 300 editions. The other one was the Simon Lucuix library, purchased in 1963. The collector had over 21,000 volumes on Uruguay and the Rio de la Plata area.  

Portrait of author Jose Hernández from a 1937 Martín Fierro–themed calendar with illustrations by Mario Zavattaro, published by Argentine textile company Alpargatas.

Why do you think Martín Fierro has remained so popular?  

JN: The book was published nineteen years after the Argentine constitution of 1853. In that constitution, there was a government policy that encouraged European immigration as an effort to “clean ” races and also populate Argentina. The gaucho became a representation of this struggle of people who were feeling threatened and feeling the consequences of European immigration. 

MA: [Martín Fierro] was not the only poem that was written in the voice of a gaucho, but one of the differences is that this one really makes the gaucho the hero in a sort of tragic tale. It was therefore taken up by different groups of people as a symbol of someone who stands for freedom, someone who was oppressed by the government, sort of a hero of the people.  

It transitioned from mass popularity to being used by the literary elite to create a political national identity. And in that way, it got really inscribed into popular culture. There are images of a popular tango musician [Carlos Gardel] dressed as a gaucho. These two cultural products [tango and gauchos] are very, very different, but we can see as the gauchos diminished in number, they were used as a symbol of Argentine identity. 

A color lithograph by Carlos Alonso depicting the unnamed Black characters who later face violence at the hands of Martín Fierro, from a 1960 edition of El gaucho Martín Fierro y La vuelta de Martín Fierro.

The exhibit focuses largely on the work’s legacy in Argentina. Can you talk about its influence outside of Argentina, such as in Brazil and Uruguay?  

MA: Gauchos existed in the Rio de la Plata area, it wasn’t just these artificial borders—it spanned the entire region. A gaucho in Argentina was very similar to a gaucho in Uruguay. 

One thing that I thought was interesting was that during the period when José Hernández was alive, there was a lot of political turmoil and he was exiled in Uruguay and Brazil; he started writing the poem in Brazil. There was this movement across these borders. 

Who should visit this exhibition?  

MA: Everyone! 

Exhibition curators Melissa Aslo de la Torre (left) and Janette Núñez.

What was the most interesting thing you learned in the course of doing this project?  

JN: For me, it was how heavily the government was involved in spreading the poem. When I found out that we had this poem was translated into over 70 languages, I had an idea that it was really popular internationally, but they were all published in Argentina. Something we’ve mentioned before is how it became so popular. I think it was really a true combination of both the mass public and the government. If either one wasn’t on board with this particular poem, I am not sure it would have been as popular as it was. 

A comic strip adaptation based on a theatrical adaptation of Martín Fierro by José González Castillo from Intervalo, October 1960. Drawings by Miranda.

What is your favorite item in the exhibition?  

MA: One of my favorite items is a version that was written for a juvenile audience that is annotated. I appreciated the annotations because there’s so much gaucho language in the poem that was part of what made it successful, but part of what makes it difficult to understand even if you’re a Spanish speaker. It is interesting, one, because you can see how the poem is taught to young Argentines, and two, it makes it understandable for us as readers. 

We’ve talked a lot about how we chose to frame this and what we chose to focus on. All of it was driven by the holdings, but there are gaps. This is a very masculine, ideal image of this national identity. I would have loved to have more about who were the female subjects in the poem, how they were treated. 

Do you think this experience will inform your careers in archives and libraries in any way? If so, how?  

MA: For me, I think it definitely will. This was my first time creating an exhibition and I really had to think about how there are so many access points to materials in archives and rare books.  

Previously, my work has been in providing reference, so I had to think about instruction in rare books and archives. How do I teach someone about these materials? How do I help tell a story? What kind of framing am I providing to this knowledge? That’s really one of the reasons that I chose this program and that I am interested in for my career—how is cultural knowledge framed by archives and museums, and what is it communicating to audiences? 

JN: I agree. Creating an exhibit is so different from providing reference. It’s putting it out there and then hoping it conveys the messages that we want it to convey. 

Also, it was my first [time] to put my experience of working in libraries and archives and my Latin American academic experience together. I do that when I do reference or processing, but putting an exhibition together is really thinking, what is my previous knowledge of Argentine history and politics? And what are my gaps, and how do I use my background to build on that? 

Another point is working collaboratively. We were able to bring both of our different experiences to put this one project together. Librarianship is very collaborative work—that is what they teach us at the iSchool. Being able to put that on something that wasn’t just a class project was a great experience as well. 


Ryan Lynch is Head of Special Collections and Senior Archivist at the Nettie Lee Benson Latin American Collection.

Melissa Aslo de la Torre is a master’s student at the School of Information at UT Austin (iSchool).

Janette Núñez is a dual-degree master’s student at LLILAS and the iSchool.

Tower to Shine a Light on Benson Latin American Collection Centennial

On the night of March 24, 2022, the UT Tower will be lit in honor of the centennial of a crown jewel of our campus—the Nettie Lee Benson Latin American Collection. Established as the Latin American library on campus in 1921, the collection is beloved by students and faculty, and visited by scholars from all over the world.

Benson Latin American Collection, with Olmec head replica

The collection was named in 1975 upon the retirement of revered head librarian and historian Dr. Nettie Lee Benson, who served as its director for thirty-three years, retiring in 1975. The stewardship of Mexico-born historian, archivist and educator Dr. Carlos E. Castañeda from 1927 to 1943 was similarly indispensable in the library’s earlier years. In 2011, the Benson joined forces with the Teresa Lozano Long Institute of Latin American Studies (LLILAS) in a partnership known as LLILAS Benson Latin American Studies and Collections. This partnership has allowed for an expansion of the Benson in the areas of digital scholarship, post-custodial archiving and archiving of Indigenous languages of Latin America.

Carlos E. Castañeda (right) examines a manuscript in the Latin American library, n.d.

This short video highlights the Benson

To honor the Benson Centennial, The University of Texas at Austin has invested in an interior redesign of the Benson’s main reading room—the first since its construction in 1971. The newly refurbished 6,734-square-foot room is the main entrance to the library and the heart of a place frequented by thousands of visitors each year.

Nettie Lee Benson, undated archival photo

The Tower lighting on March 24 coincides with the grand opening of this beloved space, renamed the Ann Hartness Reading Room, in honor of former head librarian Ann Hartness, whose thirty-eight-year tenure at the Benson enriched Brazilian studies and collections at the university. Its naming was made possible by a gift from Hartness’s son and daughter-in-law, who have also established the Jonathan Graham and Elizabeth Ulmer Fund for Library Materials on Brazil, an endowment to enhance the collection in the field of Brazilian studies. Graham and Ulmer have dedicated the remaining portion of their gift to create the Ann Hartness Benson Collection Matching Fund.

Ann Hartness in the Benson Reading room, 1971

The Benson Centennial Tower lighting is a moment for hope—that this jewel of the University of Texas Libraries may continue to open its doors to the university community and beyond for many years to come, that we may continue to pursue digital projects that make our collections available worldwide through open access, and that support for the richness of this collection will be a means to continue its growth, its inclusiveness and its accessibility to an ever-expanding audience.

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Support the Benson’s next century with a donation to the Drs. Fernando Macías and Adriana Pacheco Benson Centennial Endowment. To explore giving opportunities for the Benson Latin American Collection, contact Hannah Roberts at h.roberts@austin.utexas.edu.

The José Vasconcelos Papers: An Introduction

BY DIEGO A. GODOY

THE BENSON LATIN AMERICAN COLLECTION is home to the archive of Mexican politician, writer, and philosopher José Vasconcelos (1881–1959). In this short essay, Diego Godoy describes a man of contradictions, “the personification of both the brightness and darkness” of post-revolutionary Mexico.


One has to admire José Vasconcelos: the young law student who became a leading ateneísta —a member of the intellectual cohort that undid positivism’s decades-long stranglehold on Mexican political, social, and cultural life; the lawyer who was appointed rector of UNAM while still in his thirties; Mexico’s first Secretary of Public Education, who deployed teachers and mobile libraries to poor, rural schools and published affordable editions of literary classics; the mastermind behind Mexican muralism—picture him sitting with José Clemente Orozco, splitting a bottle of tempranillo (Vasconcelos hated distilled spirits), explaining how Orozco and other artists will bring history to the hoi polloi by frescoing colonial edifices; the Culture Czar of the Mexican Revolution.

Drawing of Vasconcelos by Izquierdo. Undated. Benson Latin American Collection.

But one can also loathe him. As the leading theoretician of official mestizophilia, he exalted the Iberian half of the mestizo equation above the Indigenous; if this is not wholly clear in the first part of La raza cósmica, read the accompanying travelogue of South America. Perhaps more egregious was his flirtation with fascism, which reached its highest (or lowest) point when he took the reins of a Third Reich–funded cultural magazine. His love life was similarly troubling: his refusal to fully commit to his mistress, the writer Antonieta Rivas Mercado, inspired her to put a bullet through her heart inside Notre-Dame—with Vasconcelos’s own pistol, no less. And then there was this slight, published in El Universal: “Barbarism commences where the consumption of guisos [stews] gives way to that of carne asada [grilled beef];” a jab, presumably, at the stereotypical brusqueness of my own father’s people—northern Mexicans.

Assorted texts by José Vasconcelos. Benson Latin American Collection.

Consider Vasconcelos the personification of both the brightness and darkness of the revolutionary project. In this sense, he was not much different from the other protagonists of the first half of Mexico’s twentieth century. Yet his intellectual and cultural impact dwarfed and far outlived that of his contemporaries.

Naturally, there is a good deal published about this maestro de la juventud de América, with the most comprehensive treatments having appeared pre–Moon Landing. More books, chapters, and essays have cropped up since then, many of which grapple with the themes of his work in oblique ways. A new English-language book (it is a largely hispanophone field), perhaps one offering unique focal points and fresh interpretations, would certainly be welcome. And while traditional cradle-to-grave biographies have become academically passé, what is often cold-shouldered by academia tends to be a reliable barometer of mass appeal. Should a researcher engage in such a project, he or she will be glad to know that the José Vasconcelos Papers at the Benson Latin American Collection contain correspondence (and divorce records) between Vasconcelos and his second wife, the pianist Esperanza Cruz. I suspect that many working historians might be dismissive of the man’s personal life. This would be unwise, because clever dashes of detail and anecdote can furnish scholarly writing and lectures with some badly needed flair. Either way, for the Vasconcelos-curious, this collection is the repository of choice.

Undated letter from Vasconcelos to his wife, Esperanza Cruz. Benson Latin American Collection.

The Vasconcelos Papers: A Closer Look

The José Vasconcelos Papers are divided into five sections. Correspondence contains the aforementioned letters to and from Esperanza Cruz, other relatives, and an array of writers. Among the latter group is Rodolfo Usigli, one of Mexico’s (and, indeed, Latin America’s) foremost dramatists, and Carlos Denegri, the legendarily unscrupulous, hard-drinking, sexist, insert-whatever-“ist”-you-want newsman—a veritable institution at Excélsior for some three decades. Biographical Materials holds photographs, artistic renderings of Vasconcelos, ephemera—conference programs, event invitations, coverage of his death—and a handful of personal items. Writings contains manuscripts and articles on a variety of subjects by Vasconcelos, as well as works by others reflecting on his cultural footprint. Of note is his four-part autobiography and another original, philosophical tract, La estética. Printed Materials includes journal, magazine, and newspaper articles by and about Vasconcelos, as well as books authored by him and those collected by or gifted to him. Lastly, there are two boxes of Oversized Materials: certificates, diplomas, event posters, newspaper clippings, and so forth.

Cover of “El Maestro,” 1922. Benson Latin American Collection.

For those who remain uninterested in contributing more pages to the micro library of Vasconcelos Studies, or expelling more breath on the “Great Men” of history, the collection is replete with gems nonetheless. Let’s say that you are interested in the history of education in Mexico, or, perhaps more specifically, the post-revolutionary state’s efforts to cultivate the minds of its citizenry. In that case, digging through issues of the short-lived El Maestro: Revista de cultura nacional will be worth your time. Founded by Vasconcelos as a sort of general culture primer, the magazine aimed to diffuse literary, historical, philosophical, and pedagogical content to educators, children, and lifelong learners. In its pages, Ramón López Velarde garnered his reputation as Mexico’s national poet before his untimely death at 33, and educators found Spanish-language versions of Tolstoy and lessons detailing the “Practical Applications of Geometry.”

Cover of “El Maestro,” October 1921. Benson Latin American Collection.

A particularly rich vein of material exists for those concerned with “bibliotechology” (as I suspect many reading this are). Vasconcelos’s conviction that “only books will lift this country out of barbarism” spurred the momentous creation of libraries—and the training of competent professionals to steward them—during his tenure as Secretary of Public Education. Under the auspices of his newly formed Department of Libraries and Archives, a young poblana named María Teresa Chávez Campomanes arrived stateside for graduate studies in library science at Pratt and Columbia. Following stints at the New York Public Library and the Library of Congress, she returned to Mexico. Her sterling intellect (and no doubt her connections) pried open the doors to coveted positions, including the directorships of the Biblioteca Benjamín Franklin and the Biblioteca de México. Yet her greatest legacy rests on having mentored a generation of librarians. As a professor at the Escuela Nacional de Bibliotecarios y Archiveros, a founder of UNAM’s Colegio de Bibliotecología, and the author of definitive guides to cataloguing and classification, she was instrumental in the professionalization of Mexican librarianship. Anyone investigating the history of libraries and cultural heritage institutions, higher education, or the Mexican state’s cultural apparatus will find the six years’ worth of correspondence between Vasconcelos and Chávez Campomanes indispensable.

Vasconcelos books in the stacks at the Benson.

If you are like me, it is another woman’s name in Vasconcelos’s mailbag that will jump out at you: Pilar Primo de Rivera—the head of the Spanish Falange’s Sección Femenina,an organization whose raison d’être was to reinforce the belief that Spanish women should be seen (preferably in their husbands’ kitchens and bedrooms) and not heard. She was also, very briefly, the would-be Mrs. Adolf Hitler, but the Spaniards’ harebrained scheme to forge a Hispano-Teutonic dynasty was scrapped upon discovery of the Führer’s unitesticularity. Some might consider her a surprising correspondent for a man as erudite and seemingly enlightened as Vasconcelos. But the problem with the erudite and seemingly enlightened is that they, too, can be seduced by truly awful ideas. Indeed, the intelligentsia may be even more susceptible because they can readily perform the mental gymnastics necessary to rationalize intellectually or morally bankrupt positions—look no further than the Twittersphere to see otherwise brilliant people with Ivy League credentials hurl critical thinking out the window.

Handwritten note (undated) on a Christmas and New Year’s greeting from Pilar Primo de Rivera, head of the women’s division of the Spanish Falange. Benson Latin American Collection.

A right-wing analogue can be found in 1930s Latin America, when many of the region’s prominent literati, not the least of whom was don José, were among the torchbearers of an emergent “clerical and hispanophile right-wing nationalism,” as Pablo Yankelevich put it. But exactly how does one go from cultural revolutionary to reactionary? What explains a broadly liberal humanist’s descent into a regressive Catholic conservatism? And not your grandfather’s variety of conservatism either, unless he happens to be a porteño with a curiously German accent. Perhaps Vasconcelos’s faith in democratic principles dissipated after the events of 1929, when his presidential hopes were dashed. Coupled with a battered ego and festering resentment, this is a compelling explanation. So is the company he kept during his post-election exile, notably Leopoldo Lugones, the Argentine poet and accomplice in José Félix Uriburu’s corporatist military regime. No doubt Mexican President Plutarco Elías Calles’s ferocious anticlericalism, and comparable atrocities perpetrated by Spanish anarchists and communists, also accelerated Vasconcelos’s rightward shift.

Cover of “El Maestro,” December 1921. Benson Latin American Collection.

Some of the flesh for these bones may be found in Vasconcelos’s correspondence with the Spanish writer José Manuel Castañón. Hailing from Asturias, Castañón ran away from home at 16, but not for the usual reasons that teenagers flee. He aspired to join the ranks of Franco’s soldiers, and did just that in 1936. Five years later, he volunteered for the so-called Blue Division in order to fight alongside the Wehrmachton the Eastern Front. Castañón would eventually grow disillusioned with Francoism and publish accounts of his political 180 from his exile in Caracas.

Vasconcelos’s communication with compatriota Manuel Gómez Morín, however, might just yield more grist. An admirer of Miguel Primo de Rivera and the French protofascist thinker Charles Maurras, Gómez Morín wore many hats: law professor; university rector; banking czar; corporate lawyer; and most importantly, opposition party founder. His disenchantment with the post-revolutionary state began in the 1920s with President Álvaro Obregón handpicking Plutarco Elías Calles as his successor, Calles’s subsequent anti-Catholicism, followed by Vasconcelos’s failed presidential campaign, for which he served as unofficial treasurer. The 1930s proved no better for him and the politically like-minded, as President Lázaro Cárdenas’s progressive reforms clashed with major national and transnational companies, some of which counted on Gómez Morín for legal counsel. Fed up with the state of affairs, Gómez Morín founded the National Action Party (Partido Acción Nacional, PAN) in 1939. Many of its earliest followers and official candidates ran the gamut of right-leaning ideology, from Jesuit activists to sinarquistas, members of a Guanajuato-based, Nazi-founded political organization whose rallying cry was “Faith, Blood, Victory.” These days, the PAN is more synonymous with drug-warrior presidents, conservative middle-class voters (the party’s lifeblood), and fake-news-peddling, rosary-clutching middle-aged women. But its early quasi-fascist ties cannot be forgotten.

José Vasconcelos, undated photo. Benson Latin American Collection.

Spending a few minutes eyeing the finding aid—and Googling unfamiliar names, texts, and organizations—will reveal the remarkable research and teaching potential of this collection. Whether one is concerned with some understudied facet of Vasconcelos’s life or career, or seeks to investigate such disparate topics as Mexican librarianship or transatlantic fascism, the José Vasconcelos Papers will provide unique and unmatched sources.  


Diego A. Godoy is a PhD candidate in Latin American history at The University of Texas at Austin. Before coming to Texas, he earned an MA in history from Claremont Graduate University. He is broadly interested in the intellectual and cultural history of the region. His particular focus is on the history of criminology, detection, and crime writing. He is author, most recently, “Inside the Agrasánchez Collection of Mexican Cinema” (2020) and “Confessions of an Archives Convert: Reflecting on the Genaro García Collection” (2021), both published in LLILAS Benson’s Portal magazine.

Acknowledgement: Thanks to Latin American Archivist Dylan Joy, who selected the archival images for this article.

Benson receives Gracious Donation from Creator of “El Peso Hero”

BY DANIEL ARBINO

It’s a bird! It’s a plane! It’s El Peso Hero!

The Nettie Lee Benson Latin American Collection is pleased to announce Héctor Rodríguez III’s donation of materials pertaining to his comic series, El Peso Hero.

The series was launched in 2011, when Rodríguez saw the need for more Latino representation in graphic novels. The titular superhero, whose name is Ignacio Rivera, fights to uphold justice and morality in the border region. In some issues, Rivera can be seen helping migrants safely across the border. In others, he fights corruption and drug traffickers. Now celebrating a decade of issues, El Peso Hero will debut on the silver screen in the near future. While Rivera is the protagonist of the series, perhaps it’s his creator who is the real hero.

Storyboards highlight content in the issues. Here we see El Peso Hero, who only speaks Spanish in the series, helping migrants cross the border. Benson Latin American Collection.

Héctor Rodríguez is a bilingual north Texas elementary school teacher by day and a comic book creator by night. His commitment to the genre goes beyond his own production: he’s also the creator of Texas Latino Comic Con. The mission of his independently owned Rio Bravo Comics is to give the people a “humble hero,” someone who is relatable to the audience, some of whom are his students. His inspiration comes from his family as well as his life as a Chicano in Texas. Rodríguez, who was born in Eagle Pass and grew up in College Station, uses El Peso Hero as a means to tell stories about the borderlands, from its hardships to its beauty.

Poster celebrating El Peso Hero. Benson Latin American Collection.

For the author, that beauty is found in the multiculturalism that flourishes in the region, where El Santo comics are read while watching lucha libre, and English and Spanish are often spoken in the same sentence. It is for this reason that Rodríguez intentionally has El Peso Hero only speak in Spanish, while the series itself is bilingual. For Rodríguez, it is important that El Peso Hero transcends the U.S.–Mexico border linguistically and culturally to solidify his representation of transnational communities.

First issue of El Peso Hero, signed by the creator. Benson Latin American Collection.

The donation features single issues, posters, stickers, storyboards, and a coloring book. One of the many highlights is a rare, signed first issue of the series.


Daniel Arbino is Head of Collection Development at the Nettie Lee Benson Latin American Collection.

Read, Hot & Digitized: Land and Belonging

BY DANIEL ARBINO

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.

At a recent talk I gave, an audience member asked me, “What are the strengths of the Nettie Lee Benson Latin American Collection?”

It’s a question I receive often, though I don’t know if I’ve ever given a satisfactory answer. I often point to our historical Mexican archival collections, our collections of women writers and artists, and our US Latinx collections pertaining to civil rights. The truth is that I think the Benson does everything well. We have outstanding Brazilian collections, unique and important Caribbean materials, and strong representation in the Southern Cone. We know we can’t collect everything, but we sure try to anyway.

Some of our most recognizable materials are the Relaciones Geográficas, late-sixteenth-century surveys with maps that came with the Joaquin Garcia Icazbalceta purchase in 1937. The aim was for the Spanish crown to have a deeper understanding of the provinces surrounding what is today Mexico City. Were there waterways to transport goods? Mines to excavate precious gold and silver? The Relaciones have been the subject of books and digital projects, confirming their relevance for posterity.

Relación de Cuzcatlán (1580), located in present-day Tlaxcala. Benson Latin American Collection.

I mention the RGs, as we affectionately call them, because they came to mind when I recently viewed a 1614 painting of a Bogotá savanna in Colombia titled La Pintura de las tierras pantanos y anegadizos del pueblo de Bogotá. Like the Relaciones Geográficas, art and cartography combine in this stunning piece, which was used as evidence in a trial to determine if landowner Francisco Maldonado y Mendoza had defrauded the Spanish crown on his way to accruing vast tracts of land at cheap prices.

La Pintura de las tierras pantanos y anegadizos del pueblo de Bogotá (1614) blends cartography and art to help settle a legal dispute.

This map became the focus of a digital project called Colonial Landscapes: Redrawing Andean Territories in the Seventeenth Century, in which Dr. Santiago Muñoz Arbelaez led a team from across the Americas, including the University of Connecticut, la Universidad de los Andes, Neogranadina, and la Biblioteca Nacional de Colombia, to explore the social and political environment of sixteenth- and seventeenth-century Colombia while considering land rights and Indigeneity. The project, which is available in Spanish and English, goes well beyond the digitization of one piece. In the “tour” section of the site, context is provided with the use of stunning rare materials. A portrait of Maldonado y Mendoza allows us to visualize the land baron. Other primary sources, both 2D and 3D, such as early textual and cartographic descriptions of cities and towns provided by Colombia’s national archive, are utilized to delve deeper. In the “Explore” section of the site, users can engage with different aspects of the main map in question.

1758 Map of Sopó, Colombia

However, the highlight of this project is taking a map that discusses landownership between two European entities (Maldonado y Mendoza and the Spanish crown) and inserting Indigenous rights and notions of belonging into the matter. The Muisca are considered at length in this project as the rightful inheritors of the land. The Muisca Confederation was a group of loosely affiliated sovereign regions that made up nearly 10,000 square miles in Colombia when the Spaniards arrived.in 1499.  They had the knowledge to cultivate crops in the savanna and to understand the region’s flora and fauna as well as extensive knowledge of metalworking and salt-mining. Images of Muisca ceramic figures demonstrate a rich culture whose trajectory was upended with the arrival of European colonizers. To that end, the exhibit also shows how Europeans created negative representations of the Muisca to justify the violent imposition of a new order. As land acknowledgements are negotiated and spoken in conversations emanating from sites of power, it is precisely this portion of the project that makes it so timely and necessary. Projects like Colonial Landscapes propose interesting pathways toward digital repatriation while contextualizing our understanding of the past and present. 

Muisca votive figure (600-1600), currently housed in Colombia’s Museo del Oro

Feature image: Relación de Atengo y Misquiahuala, 1579. Benson Latin American Collection.


Daniel Arbino is head of collection development at the Benson Latin American Collection, The University of Texas at Austin.

Journey into the Archive: The McFarland Cuban Plantation Records

BY KATIE COLDIRON

The Benson Latin American Collection is a beacon for Latin Americanist scholars the world over. It has drawn researchers to examine its archival gems, particularly its strength in holdings that shed light on Mexico and Central America. Over the past few years, the Benson has further diversified its collection to better represent other parts of Latin America and strengthen its holdings on materials from the Caribbean as well as Latinx and African diasporas in the United States. Its well-deserved status as the top Latin American and Caribbean-focused collection in the United States is what drew me to UT Austin in the first place.

Before I was an Information Studies student at UT, I was a first-time graduate student diving into academia at the University of Florida. Having found employment in UF’s Latin American and Caribbean Collection, I was soon inspired by the wide variety of unique Cuban holdings present, such as autographed first editions of works by Cuba’s national hero and author José Martí. The mentorship of scholars of Cuba like historian Lillian Guerra further drew me into Cuban Studies. Five years and many trips later, Cuba continues to capture my interests, particularly now that I live and work in Miami, where the highest number of Cuban Americans in the United States reside.

Postcard from Holguín, where J.F. McFarland noted details from his trip to Cuba.

It should come as no surprise that the collection I am reviewing relates to Cuba. With the assistance of the Benson’s Caribbean Studies liaison librarian Adrian Johnson, I came across the McFarland Cuban Plantation Records. It is a bilingual collection of correspondence, company records, legal documents, news clippings, and personal photos relating to the Cuban Plantation Company of Nueces County, Texas. The company was originally organized and incorporated in New York State by twenty Pennsylvanians who came together to buy a 1000-acre plantation near Holguín, a city in eastern Cuba. The date of the incorporation, October 1, 1902, is important, as it came less than five months after the end of the four-year U.S. military occupation of Cuba following the conclusion of the Cuban War of Independence. During this turbulent period, Cubans negotiated with the legacies of Spanish colonialism as well as the neo-imperial presence of the United States at all levels of society.[1] Following the formal end of the occupation, U.S. interests did not disappear, but rather intensified, with 13,000 North Americans having bought land in Cuba by 1905.[2]

Of those twenty Pennsylvanians mentioned previously, nineteen eventually stopped paying the interest on their loans and thus ceased to be a part of the Cuban Plantation Company. The only original investor who remained was one J.F. McFarland. McFarland would eventually pass ownership of the company to his two sons, and in 1953, they officially changed the business’s name to the Cuban Plantation Company of Nueces County, Texas. During this period, their landholdings became entangled with a brewing revolutionary fervor against the brutal dictatorship of military strongman Fulgencio Batista, who was backed by multiple U.S. public and private interests. However, the story of the Cuban Revolution and the eventual agrarian reform that would affect U.S. interests like the those of the McFarlands is not a simple one.

Agrarian reform was on everyone’s minds, both inside and outside of Cuba. In June 1959, then–Prime Minister of Cuba Fidel Castro told the U.S. Ambassador to Cuba Philip Bonsal that agrarian reform was “a matter of life and death.” U.S. landowners like the McFarlands and the United Fruit Company, which was the single-largest landowner in Cuba, found the prospect of agrarian reform worrisome. As the McFarland records show, they like many others assumed that Cuba’s revolutionary experiment would not last long. For example, in a 1959 letter from J.R. McFarland, the secretary-treasurer of the Cuban Plantation Company, to lawyer Dr. Pedro Ferrer y Coba, McFarland wrote, “We also feel that the dictatorship of Castro will sooner or later terminate because of lack of finances, because he has alienated the people or governments from which he might have obtained finances.” In the same letter, McFarland also notes that the company felt they would be paid “a price below the actual worth of the land” or “in bonds of uncertain value.” As the years passed and Cuba found economic stability through a relationship with the Soviet Union, these assumptions turned into legal efforts to secure some form of compensation for expropriated properties. In the McFarland records, one can see that their efforts to receive compensation for their land continued as late as 1971.

Letter from J.R. McFarland to Dr. Pedro Ferrer y Coba, employee of the Cuban Plantation Company who was given power of attorney on the company’s behalf. The letter notes that the company considered the Cuban revolutionary project to be temporary.

The culture of the U.S. plantation in Cuba was one in which North American custom reigned supreme, with many plantations having their own police forces subject only to the laws set by the landowner.[3] This detested system, and the poverty it created in the Cuban countryside, were so unpopular that agrarian reform was overwhelmingly supported by Cuba’s middle classes. As Lillian Guerra shows in her pivotal work on the first decade following the triumph of the Cuban Revolution, the Cuban middle classes supported agrarian reform via monetary donations, donations of agricultural machinery, and some even opening their homes to visiting guajiros (Cubans from the countryside) in a government PR initiative to open the luxuries of the city previously unavailable to them.[4]

While agrarian reform was wildly popular at its initiation, certain instances during this period foreshadow what would become an authoritarian regime. Fidel Castro directly controlled the agency tasked with instituting agrarian reform, the Instituto Nacional de Reforma Agraria, or INRA, along with a host of other government entities.[5] As he expanded his personal popularity and power, he also put his allies in positions that they were not always qualified for. For example, the medical doctor Ernesto “Che” Guevara was appointed as the head of the national bank. Urban underground activists, commonly known as “la clandestinidad,” who had fought on behalf of Castro’s 26th of July Movement, were displaced by those of the Partido Socialista Popular, a covertly Stalinist party and the not-too-distant allies of Fulgencio Batista during his first presidency and later dictatorship.[6]

Copy of letter sent to J.R. McFarland, then-secretary/treasurer of the Cuban Plantation Company, by Cuban company lawyer Dr. Pedro Ferrer y Coba. In the second-to-last paragraph on this page, Ferrer y Coba acknowledges the popularity of the then-provisional government.

The McFarland records provide little insight into life on their farm, but the collection includes a brief memoir about a family/company trip to Cuba written by J.R. McFarland, son of J.F. The farm is romanticized as a quaint country estate, but the tenants, like other facets of Cuba in the eyes of the author, are portrayed as primitive. Furthermore, racist imagery is present throughout, with most Cubans encountered labeled as “negroes.” This label also does not take into consideration the diversity of racial identifications in Cuba, where like other parts of Latin America and the Caribbean, a variety of racial identifications exist apart from the dichotomy of “black” and “white.”[7] These instances provide important context for the plethora of social ills that arise when foreign entities control the land and people of an independent country. The agrarian reform in its infancy was a noble cause that enjoyed support from the Cuban masses and was a glimmer of hope for those seeking a more independent and egalitarian nation. Nonetheless, it would be a mistake to dismiss what came after this period of hope.

The principal crop of the Cuban Plantation Company was sugar, a hugely important product in Cuban history. Early revolutionary ideals of crop diversification and self-sufficiency were displaced for more of the same. Instead of supplying the bulk of its sugar harvest to the United States, Cuba would instead provide its cash crop to the USSR. In the Soviet era, Cuba functioned as a quasi-colony of the USSR in the Western Hemisphere. Additionally, failed agricultural initiatives like the Ten Million Ton Harvest (Zafra de los Diez Millones), which emptied other professional sectors of personnel in the name of carrying out a hefty sugar harvest, created ration shortages and the corruption of the ration system itself.[8] With the collapse of the Soviet Union in the late 1980s, Cuba faced a massive decrease in food supply, with a 50% decrease in overall food production within its own borders.[9] This food insecurity has not been overcome to this day, with increasingly difficult U.S. economic sanctions, failed state agricultural policy, dependence on a limited supply of imports, and a stagnant economic structure where success is often determined by race, gender, lucrative familial connections abroad, and geographic location.[10]

Postcard depicting a home characteristic of the Cuban countryside. On his family trip to Cuba, J.R. McFarland thought that the image closely resembled that of a home on his company’s farm.

My time at UT Austin taught me much about amplifying voices that have been historically absent from the archive. At the Wolfsonian Public Humanities Lab of Florida International University, we are seeking to do just that, with strategic community partnerships around South Florida to document oral histories and create a more all-encompassing archive of the region and how different groups have experienced it. About archiving Cuban themes in South Florida, the tradition has been to almost exclusively preserve the stories of pre-1959 Cuba, prominent members of the exile community, and dissidents. While these stories are important, they should nonetheless be complemented by those of individuals who were brought up in Cold War–era and post–USSR collapse Cuba, as well as the more quotidian stories of Cuban exile life in South Florida from recent decades. As someone who has lived in and researched Cuba, I learned early on that the hyperpoliticization of the subject of Cuba leads to anyone willingly diving into post-1959, in-country themes being met with suspicion. However, for the sake of engaging research, preservation, and ultimately positive change in Cuba, these themes must not be pushed to the side.

While the situation I have described is unique, the Benson nonetheless offers a great example for these goals. The Benson’s historic holdings, like the Genaro García Collection and the Joaquín García Icazbalceta Manuscript Collection, are being complemented by newer, digitally based initiatives like the Voces Oral History Archive and post-custodial digitization in the region with partners like the Colombian Proceso de Comunidades Negras, or PCN. My hope is that one day, the archives in South Florida that more closely resemble the McFarland Collection can coexist with those of Cubans who lived through the turbulent decades of the Revolution, and those who came to Florida in later decades seeking libertad.

Throughout my professional and personal life in Florida and Cuba, I have seen both sides of the partisan battles surrounding Cuba and its contested future. On one side are those academics and activists who celebrate the successes of the Cuban Revolution without acknowledging the extent of its failures. On the other side, many in the Miami exile community, as well some U.S.  politicians, are unable to see the dire human costs of the trade embargo and toughening U.S. sanctions. The lack of room for critique leads to Cubans being nothing more than symbols to justify one view or the other, while also leaving Cubans—to borrow the words of cultural anthropologist Noelle Stout—“to make the long, hot walk back to their normal lives” when they are no longer on the radar of foreigners or the exile community.[11] In this moment, a climactic and potentially transformative one for the people of Cuba, they must be seen as more than props in a partisan battle, but agents in their own destiny.

Editor’s Note: This piece was originally published September 16, 2021, in the series Journey into the Archive: History from the Benson Latin American Collection, a collaboration between the Benson and Not Even Past. View the original here.


About the Author

A native of Kentucky, Katie L. Coldiron moved to Florida in 2016 to pursue a master’s degree at the University of Florida’s Center for Latin American Studies, and she undertook her thesis research in Cuba under the advisement of Dr. Lillian Guerra. She was also introduced to library and archival work at UF, and parlayed different roles held during her time as a student into a position digitizing Cuban Judaica items and periodicals on the ground in Havana, all part of a post-custodial digitization project undertaken by the UF George A. Smathers Libraries. Following this experience, Katie enrolled in a library and information science master’s program at The University of Texas at Austin. During her time at UT Austin, Katie served as a graduate research assistant for digital projects at the UT Libraries, where she assisted area studies librarians on various facets of their digital projects. She also was a FLAS fellow at the Teresa Lozano Long Institute of Latin American Studies. Katie is currently working as the Digital Archivist and Project Manager for the Wolfsonian Public Humanities Lab at Florida International University. She can be found on Twitter: @katielcoldiron.

Notes

[1] Mariel Iglesias Utset, A Cultural History of Cuba During the U.S. Occupation, 1898–1902 (Chapel Hill: The University of North Carolina Press, 2011).

[2] Louis M. Pérez, On Becoming Cuban: Identity, Nationality, and Culture (Chapel Hill:  The University of North Carolina Press, 1999).

[3] Ibid.

[4] Lillian Guerra, Visions of Power in Cuba: Revolution, Redemption, and Resistance, 1959–1971 (Chapel Hill: The University of North Carolina Press, 2012).

[5] Ibid.

[6] Ibid.

[7] Devyn Spence Benson, Antiracism in Cuba: The Unfinished Revolution (Chapel Hill: The University of North Carolina Press, 2016).

[8] Guerra, 2012.

[9] Pérez, 2019.

[10] Hannah Garth, Food in Cuba: The Pursuit of a Decent Meal (Stanford, CA: Stanford University Press, 2020).

[11] Noelle M. Stout, After Love: Queer Intimacy and Erotic Economies in Post-Soviet Cuba (Durham, NC: Duke University Press, 2014).

“Knowledge”: Online Exhibit Celebrates Benson Centennial and Diversity of Thought in the Americas

In Nuestra América (1891), Cuban poet and philosopher José Martí calls for a pan–Latin American identity that grounds itself in the need to value autochthonous knowledge: “Knowing is what counts. To know one’s country and govern it with that knowledge is the only way to free it from tyranny. The European university must bow to the American university. The history of America, from the Incas to the present, must be taught in clear detail and to the letter, even if the archons of Greece are overlooked. Our Greece must take priority over the Greece which is not ours. We need it more.”

A new online exhibition, A Hemisphere of Knowledge: A Benson Centennial Exhibit, accessible in English, Spanish, and Portuguese, explores the implications of Martí’s words across time and cultures, using a wealth of resources available at the Benson Latin American Collection.

“This exhibit, divided into six sub-themes, seeks to present different types of knowledge production from the Americas while recognizing that our universality comes from relations based upon diversity, and that these relations, like cultures themselves, are constantly changing,” said Daniel Arbino, head of collection development at the library and curator of the exhibit. In conceiving the exhibit, Arbino sought to examine “the diverse production of knowledge from the many cultures that make up what we now call the Americas.” He adds that “the exhibition considers this knowledge against the backdrop and legacies of hegemony, thereby situating it within the power dynamics of colonialism, imperialism, and neoliberalism. A Hemisphere of Knowledge is intentionally political because it values cultural beliefs that have been dismissed due to legacies of power.”

Learn more about the Benson Centennial at benson100.org.


Above: Knowledge, by Terry Boddie

“The Benson at 100”: Podcast Celebrates Library’s Centennial

In honor of the centennial of the Nettie Lee Benson Latin American Collection, the library’s head of collection development, Daniel Arbino, has teamed up with Pilar Zazueta, historian and senior lecturer at the Teresa Lozano Long Institute of Latin American Studies (LLILAS), to create a bilingual podcast.

The Benson at 100 is an audio series designed for listeners interested in Latin American history and culture. Episodes will be released monthly, and explore the region through the Benson archives and books.

Learn more and listen to episodes at The Benson at 100. Visit the Spanish-language homepage: La Biblioteca Benson: Los primeros 100 años.

In Memoriam: David Block

David Block, photo by Robert Esparza

LLILAS Benson mourns the passing of friend, scholar, and former colleague David Block III, on June 15, 2021. Block was head of the Benson Latin American Collection from 2009 until his retirement in 2014.

Born in San Diego, California, in 1945, Block grew up in Arkansas, where he earned a bachelor’s degree from the University of Arkansas. He served for three years in the Peace Corps in Bolivia, igniting his lifelong interest in Latin America. He earned his PhD at the University of Texas at Austin, where he studied with historian Nettie Lee Benson. During his thirty-year career as a Latin American librarian, Block worked at Cornell University and at UT’s Benson Collection. He also served as president of the Seminar on the Acquisition of Latin American Library Materials (SALALM). Read Block’s obituary.

David Block, undated. Courtesy of Peggy Robinson.

Block was a sought-after expert on the Andean region and the author of the book Mission Culture on the Upper Amazon (1994), which won the Conference of Latin American History’s Howard Cline Memorial Prize and was included in Obras de la biblioteca del bicentenario de Bolivia. He also penned the introduction to A Library for the Americas (2018), a contributed volume that showcases the Benson’s history with essays and rich illustrations.

On Taquile Island, Lake Titicaca, Peru. Undated. Photo courtesy of Peggy Robinson.

Upon his retirement from the Benson in 2014, Block spoke about his time at the Benson as “the high point of my 35-year career.” One of the most significant events during his tenure was the establishment of the LLILAS Benson partnership in 2011, in which Block played a key collaborative role. “David’s accomplishments during his relatively short time at the Benson are too many to list,” says Benson director Melissa Guy. “He was a master bibliographer and scholar, and traveled throughout Latin America to secure materials for the collection. Most significantly, he was instrumental in launching and nurturing the LLILAS Benson partnership, now in its tenth year, working alongside LLILAS Benson director Charlie Hale to find new ways to link the world-class collections of the Benson to the top-tier scholarship and teaching of the Teresa Lozano Long Institute of Latin American Studies. That, in and of itself, is quite a legacy.”

Prior to his colleague’s retirement, Hale reflected on Block’s personal qualities: “David cares deeply about others: he is gentle, compassionate, and kind, whether with a co-worker of many years or a stranger who happens into the Benson; he is scrupulously conscientious: holding himself to bedrock ethics and values, with no sense that this gives license to judge others; and his manner exudes an egalitarian ethos, always willing to step up to assure that collective goals are met, inspiring others by his example, and by the sheer pleasure of working at his side.”

David and wife Peggy, undated. Courtesy of Peggy Robinson.

The LLILAS Benson family extends our deepest condolences to David’s family. He left an indelible mark on many of us as both a scholar-librarian and a human being, and we are so grateful.


Honoring David Block

It is David’s family’s request that those wishing to honor him consider a donation to the Nettie Lee Benson Collection, Benson Centennial Endowment: bit.ly/Benson100. Check donations may be sent to TEXAS Development, PO Box 7458, University of Texas at Austin, Austin, TX 78713. Please make check payable to: The University of Texas at Austin and specify in memo: UT Libraries – Benson Centennial Endowment.

Scene Onscreen: ¡A Viva Voz! Celebration Will Bring Levity at the Right Moment

LLILAS Benson is thrilled to announce the return of the ¡A Viva Voz! Celebration of Latina/o Arts and Culture. The annual event, usually one of the highlights of the spring semester, was canceled in 2020 due to the recent campus closure for Covid-19.

Now that we’ve got an advanced degree in Zoom, we are pleased to announce Scene Onscreen: An Evening with JoAnn and Rupert Reyes, Founders of Teatro Vivo. This virtual event will be held on Thursday, April 1, 2021, at 7pm CDT. To register for the event and receive a link, visit Attend.com/AVV2021.

JoAnn and Rupert Reyes. Design by Jennifer Mailloux; original artwork by Monica Rodriguez

During the evening, hosted by Roxanne Schroeder-Arce of the Department of Theatre and Dance, the audience will be treated to recorded scenes from some of Rupert Reyes’s iconic achievements as a playwright, interspersed with conversation about the history of Teatro Vivo, the bilingual theater company that Rupert and JoAnn founded in 2000 and led for many years.

Scenes from Petra’s PecadoPetra’s Cuento, and Petra’s Sueño; Crossing the RíoCuento NavideñoCenicienta, and the forthcoming film Vecinos will bring some levity to everyone’s evening, and it is our hope that the shared experience of laughter while enjoying these scenes will make the virtual a little more personal.

The JoAnn and Rupert Reyes Collection

The Benson Latin American Collection is the repository of the papers of JoAnn and Rupert Reyes, which contains a rich assortment of materials from their decades working with Teatro Vivo and other theater companies. According to the archival notes, “Teatro Vivo has garnered numerous nominations for acting, writing, and design from local theater award councils, including the B. Iden Payne Awards and the Austin Critics Table Awards, and the company continues to serve as an active contributor to the arts community in Austin. JoAnn and Rupert led the company as the executive director and artistic director, respectively, until they stepped down in 2016.” Both of the Reyes have received accolades for their work, including the Community Leadership Award from the University of Texas at Austin (their alma mater) in 2008 and the Partners in the Arts and Humanities award by the Austin City Council in 2011. They continue to serve as advisors to Teatro Vivo and remain significant cultural ambassadors for Latino theater in the United States.


For more information, please contact Susanna Sharpe.