Iton 77 is one of the prominent literary magazines of literature, poetry, and culture in Israel.[1] The UT Libraries has cooperated with the publishers of Iton 77 since 2013 and recently finished the digitization of 391 issues, bringing almost the whole run online.[2] Additional issues will be digitized or added as digitally-born files in the near future. This is the most complete digital archive of Iton 77 currently in existence. Being a searchable, full text archive, openly accessible to the public worldwide with no restrictions, it promises to be a valuable resource for scholars as well as for the general public.
Established by the late poet and editor Yaakov Besser in 1977, the magazine is now celebrating 48 years of commitment to literary work. Many Israeli poets and authors published their first texts in Iton 77, and it is still a desired platform for emerging and experienced writers alike. Published works include poems, short stories, book reviews, literary criticism and research, opinion editorials, essays, and works in translation. Wide representation is given to Israeli writers who write in languages other than Hebrew, such as Arabic, Russian, and Yiddish. Being a pluralistic platform, Iton 77 is open to alternative narratives and opinions, acknowledging the importance of historical contexts while discussing the complicities and difficulties of Israeli existence. Current editors are Yaakov Besser’s son, Michael Besser, and ‘Amit Yisre’eli-Gil’ad.
Upon the acquisition of some print back issues of the magazine in 2013, UT Libraries and the Iton 77 publishing house discussed a future online visibility for the publication, and the possibility for hosting the digital issues on the UT Libraries digital repository – now known as Texas ScholarWorks or TSW. Like many other digital repositories, TSW was established to provide open, online access to the products of the University’s research and scholarship, and to preserve these works for future generations. In addition, TSW is also used as a platform for digital content that is not necessarily created on campus, but is rather a product of cooperation with off campus content owners, such as the Iton 77 publishing house.
TSW provides stable and long-term access to submitted works, as well as associated descriptive and administrative metadata, by employing a strategy combining secure backup, storage media refreshment, and file format migration. Conveniently and helpfully, all works submitted to TSW are assigned persistent URLs, – permanent web addresses that will not change overtime.
All scanned issues of Iton 77 have been OCR-ed for full-text searchability and can be downloaded either as text or PDF files. Currently issues are sortable by date and title, with sorting by author and subject in the works. With the permission of UTL and the Iton 77 publishing house, most of the content is mirrored and indexed on the Ohio State University Modern Hebrew Literature Lexicon.
The total number of downloads of all issues to-date is 241,947. Issues are viewed and downloaded from every corner of the globe. Not surprisingly, most of the users are from Israel, with the United States and Germany in second and third place. Other Hebrew readers connect from many other countries, including Egypt, Japan, Togo, and Syria.
The most popular issue since going online in TSW with 6194 downloads to-date is the double issue from January 1987, called the ‘decade issue.’ It celebrated some of the most prominent Israeli authors, poets, and essayists of that time, such as Yitsḥaḳ Aṿerbukh Orpaz, Aharon Meged, Erez Biton, A.B. Yehoshua, Dalia Rabikovitch, Anton Shamas, Shimon Balas, and many others.
We are excited about this partnership to bring Iton 77 to a global audience in this stable open access format and encourage all to browse and use it!
Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s 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.
Before we had Spotify playlists, we had the mixtape. Scrawled handwritten track lists; the precise practice of hitting PLAY and REC at the same time; the dread of ejecting the cassette from the player to find the tape had been pulled into a tangled mess and using a pencil to carefully respool it.
A screenshot from the About section of The Mixtape Museum.
The Mixtape Museum (MXM) is a digital archive project and educational initiative committed to the collection, preservation, and celebration of mixtape history. The project seeks to both further mixtape scholarship and foster public dialogue, raising awareness of the artistry and far-reaching impact of mixtapes as a cultural form.
While mixtapes are the anchor point, these memories are also about people and places, relationships and phases, marking connections between a cultural era and the personal eras of our lives. The Collection reveals how music indexes experiences and moments in time, and also attests to the way particular objects can become imbued with layers of meaning and cultural significance. Even in the digital space of the MXM, I am struck by the affective resonance of the physical cassettes themselves, each containing a story that stretches beyond the tape wound inside it.
In addition to the Memory Collection, the MXM includes a News section of related articles and public events, and a Mixtape Scholarship Library featuring key texts in the field. Appropriately, there is also a Listen section, which takes visitors to the Mixtape Museum Soundcloud page, where today’s creators might upload their tracks instead of passing out their tapes.
Aligned in a sense with the ethos of the format it highlights, the MXM operates from a simple WordPress site—a platform with a relatively low barrier of entry for producing digital content. The project was founded by scholar, arts administrator, and community archivist Regan Sommer McCoy, who serves as Chief Curator, supported by a group of advisors and institutional collaborators.
As I browse the collection my own mixtape memories surface—a tape gifted to me by a former best friend that I played on repeat during my freshman year of high school; my painstaking efforts to create the perfect mix to let a crush know the way I really felt about him. Does the MXM spark a mixtape memory for you? The project welcomes submissions to the archival collection and invites a variety of formats. Contributors have the option to make memories public or keep them password protected, respecting the boundaries of each offering.
Want to learn more about mixtape culture and history? Several of the titles featured in the MXM are available from the UT Libraries:
The digitized episodes have been made available online by the Benson Latin American Collection
More than 160 digitized episodes of Latino USA, the newsmagazine of Latino news and culture founded at UT in 1993, have been published by the Benson Latin American Collection. Published records include metadata and transcriptions for the episodes, which are available to the public on the open-access University of Texas Libraries Collections Portal. The publication and transcription of the episodes was made possible by a grant from the Latin Americanist Research Resources Project (LARRP).
The selected episodes, which total 168, span the years 1997–2000. They are part of a larger archival collection held by the Benson—Latino USA Records, which documents the history of the radio program from early planning stages in the late 1980s through the program’s first seventeen years (1993–2010).
OnCampus feature on Latino USA’s 200th program. Latino USA Records, Benson Latin American Collection.
The newly published episodes consist of over 80 hours of material covering Latin American and Latina/o topics, including interviews with figures such as labor activist Dolores Huerta, singer Little Joe Hernandez, San Francisco mayor Willie Brown, and writers Claribel Alegria, Américo Paredes, and Sandra Cisneros. Prior to their digitization by UT Libraries, these episodes had only existed in a legacy audio cassette format known as DAT, which made them inaccessible to the public.
The published episodes are accompanied by complete transcriptions, funded with a grant from the Latin Americanist Research Resources Project (LARRP). The transcriptions meet accessibility requirements of the digital collections platform, expanding access for the hearing impaired and people with better reading than listening knowledge of English.
Transcriptions can also provide expanded searching and digital scholarship opportunities for researchers and support additional use of these recordings in instructional settings. The transcriptions were provided by UT Austin’s Captioning and Transcription Services Team.
Latino USA DAT audio tapes at the Benson Latin American Collection
The Latino USA Records at the Benson include nearly 900 program episodes that aired between 1993 and 2010, in addition to correspondence, photographs, ephemera, and other records documenting the program’s history. The Benson and University of Texas Libraries have digitized and transcribed additional episodes that they hope to publish in the future. Archival footage from the Benson was included in various episodes during the program’s 30th anniversary year in 2023, including a special episode dedicated to the anniversary and an episode that focused on the Benson. Latino USA’s special episode dedicated to the memory of the program’s founder, María Martin, also included archival footage and documents from the Benson.
The late María Martin at the Latino USA studio. Latino USA Records, Benson Latin American Collection.
Over 30 Years of History
Launched on May 5, 1993, Latino USA is an award-winning weekly English-language radio journal created to fill a Latina/o-themed void in nationally distributed radio. It was initially produced by the Center for Mexican American Studies (CMAS) in collaboration with KUT at the University of Texas at Austin. Radio veterans María Emilia Martin and Maria Hinojosa joined the staff in the roles of producer and host, respectively, while CMAS director Gilberto Cardenas acted as the program’s first executive producer (Martin and Hinojosa would both eventually serve in this role). Latino USA moved to Futuro Media Group in 2010.
The program was established at a time when the U.S. Latina/o population was one-third of what it is today. As Maria Hinojosa notes, the show traces the history of this immense growth, as well as that population’s participation in all aspects of politics, culture, and society.
Latino USA co-founder and journalist Maria Hinojosa, undated photo. Latino USA Records, Benson Latin American Collection.
Among the staff members who worked in this project are two graduate research assistants (GRAs), Fernanda Agüero, a graduate student at the School of Information (iSchool), and Rosa de Jong, a dual-master’s student at LLILAS and the iSchool.
As LLILAS Benson Digital Initiatives GRA, Agüero worked on the project during fall 2024, giving her the opportunity to listen to a large majority of the Benson’s now-digitized collection.
“The Latino USA collection provides a distinct opportunity to observe the key events and cultural developments that defined Latin American identity through the turn of the 20th century,” Agüero said. “It covers significant moments such as the Elián González case, the Clinton-Gore campaign, and a large focus on the arts, including my favorite episode, which featured a compilation of Latin American female ballad artists. This collection serves as a historical record, allowing listeners to situate themselves within the specific timeframes in which these episodes were produced, offering insight into the political and cultural climate of the period.”
Undated photo, Latino USA Records, Benson Latin American Collection
De Jong, a Special Collections Graduate Research Assistant, singled out her highlights in the newly transcribed episodes.
“I especially loved the episodes focused on Tejano and Chicano traditions and cultural workers. One that stands out is titled Tejano Literary Traditions, which features interviews with literary icons Sandra Cisneros and Américo Paredes. In the episode, the authors talk about how their experiences growing up and living in the U.S.–Mexico borderlands shaped their work.” The newly transcribed programs also focused on Puerto Rico, says de Jong. “I was also impressed by the depth and scope of the reporting on Puerto Rico. Covering topics such as the Independence Movement, Puerto Rican political prisoners, and the 1999 Vieques Island protests, Latino USA episodes provide varied and rich accounts of the complex and evolving socioeconomic, political, and cultural contexts both on the Island and within the diaspora. Two episodes that highlight this reporting are Latino USA Program 275, Week #39-98 and Latino USA Program 348, Week #51-99.”
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.
Voluminous lists of banned or redacted books, laced with sanctimonious commentary—or, early modern Spanish “cancel culture.” The illustrated family tree of a womanizing, bald curate named Miguel Hidalgo. Op-eds fawning over every viperous protagonist of the Revolution.
Researchers will find these items and more in the Genaro García Collection. A Zacatecan politico-cum-historian, and eventual director of Mexico’s Museo Nacional de Historia, Arqueología y Etnología, García began amassing books and other items documenting the history, culture, and politics of his country at a young age—a habit he, thankfully, never broke. In 1921, a year after his death, García’s family sold his vast treasure trove of Mexicana to the University of Texas after the Mexican government had reportedly demonstrated little interest. Seven tons of manuscripts, books, periodicals, photographs, and other printed materials made their way to Austin, becoming the seeds of what would flourish into the Nettie Lee Benson Latin American Collection. It is one of the world’s premier archives for the Mexicophile.
Genaro García (center) with museum staff, Museo Nacional de Historia, Arqueología y Etnología, Aug. 15, 1913. Photo: Ramos. Genaro García Collection, Benson Latin American Collection.
Unlike many aspiring young historians, I was never a devotee of archives. I never revered the yellowed, brittle sheets of paper and the “stories” they harbored. Nothing was less appealing to me than spending the better part of a workday in some record office, wearily attempting to distill something relevant from a sea of irrelevancies, surrounded by researchers whose social ineptitude rivaled my own. I had ventured into multiple repositories and each time failed to become a convert. Perhaps this is why I gravitated toward intellectual history when it came time to find my niche. I am a believer in the book and the essay—heresy to the ears of some in the historical profession.
Then I began my position as the Castañeda Graduate Research Assistant at the Benson Latin American Collection. The job entailed creating metadata for digitized selections from the García Collection. I considered it a simple way to add some much-needed lines to my curriculum vitae, not to mention supplement my miserly graduate student salary. Yet it ended up washing away much of the aversion I felt toward archives, and introduced me to another career possibility.
Letter dated Jan. 28, 1536, signed by Juana la Loca (1457–1555), queen of Castilla and later of Aragón. The letter seeks justice after the “confiscation” of Indians (presumably laboring on her behalf) by one Juan Altamirano. Genaro García Collection, Benson Latin American Collection.
After the initial new-job jitters, there was something serenely satisfying about delving into this collection. I was not a visiting researcher working against the clock to find useful bits of evidence for my own studies. I was there to calmly soak it all in, and then produce data, without any personal motive. Moreover, examining these raw materials of Mexican history proved to be a first-rate course in the subject—far more enlightening than any three-month-long seminar could ever be.
Writing metadata is, essentially, an element of the historian’s craft. One has to sit with and scrutinize an item in order to correctly interpret it. Often, this requires a healthy dose of research. Because I was not trained as a historian of colonial Latin America, documents created before the 19th century required additional research to properly contextualize them, as well as a resolute eye to decipher early-modern script. Then there is the authorial question, which occasionally demands another mini investigative journey. The end products are detailed, bilingual descriptions, and other data that, ideally, facilitate the researcher’s job.
Digitization, after all, serves to democratize research and pedagogy by making rare and remote materials easily accessible to anyone with an internet connection.
I began working mostly with documents dating from about 1810 to 1920. The Imprints and Images section of the García archive consists of graphic materials, such as maps, lithographs, and posters. The Broadsides and Circulars portion, on the other hand, is more textual and consists of widely distributed papers relating to Mexico’s War of Independence (1810–1821) and the Revolution (1910–1920), but is no less captivating. These approximately 1,200 items are now viewable on the collections portal, and materials from the photographs, archives and manuscripts, and rare books parts of the collection are continually being uploaded.
Circular de Los Inquisidores Apostólicos Bernardo de Prado y Obejero, Isidoro Sainz de Alfaro y Beaumont, y Manuel de Flores, December 1803. A list of prohibited books from the Inquisition era in New Spain, Guatemala, Nicaragua, and the Philippines. Genaro García Broadsides and Circulars, Benson Latin American Collection.
Currently on my docket are digitized selections from Archives and Manuscripts. This section contains individual historical manuscripts from the 16th to the 19th centuries. Those from the 1500s have proven to be the most challenging, not only due to my lack of paleography skills but also my unfamiliarity with early-modern Spanish grammar. But a fair share of focus and tenacity goes a long way. The “Archives” portion holds the papers of several prominent 19th-century characters, such as Lucas Alamán, the conservative statesman and intellectual, and Antonio López de Santa Anna, the peg-legged vendor of national territory. It will be a welcome break from my travails through the colonial era.
Desastroza Derrota de Francisco Villa – Viva el heroico general Victoriano Huerta, March 1914. Anti-Villa, pro-Huerta propaganda from revolution-era Mexico. Genaro García Broadsides and Circulars, Benson Latin American Collection.
I am glad to play a pivotal role in the Benson’s initiatives to develop its digital collections. Digitization, after all, serves to democratize research and pedagogy by making rare and remote materials easily accessible to anyone with an internet connection. Now, scholars unable to jet off to Austin from, say, Genaro García’s home country of Mexico, can consult his collection from their laptops. Digital content also allows for innovative exhibition practices, like online showcases with interactive features. And perhaps most importantly, digitization safeguards our cultural heritage by producing a virtual “backup.”
Arbol Genealógico del Ilustre don Miguel Hidalgo y Costilla (Genealogical Tree of the Illustrious Don Miguel Hidalgo y Costilla). An extensive family tree of Miguel Hidalgo. Created by Concepción Ochoa de Castro and M. Martínez e Hidalgo, May 16, 1910. Genaro García Imprints and Images, Benson Latin American Collection.
The digitization and metadata creation for the Images and Imprints and Broadsides and Circulars materials were generously funded by the Latin Americanist Research Resources Project (LARRP), Center for Research Libraries, with additional funds provided in honor of Consuelo Castañeda Artaza and her sons. Of course, none of this could have been accomplished without the dedication of several Benson employees. David Bliss, Itza Carbajal, Robert Esparza, Mirko Hanke, Dylan Joy, Ryan Lynch, Madeleine Olson, and Theresa Polk all made indispensable contributions to the digitization and publication of these items.
It has been over two years since I began this position. I am still a devout fan of books and other easily available, published sources. But I am no longer agnostic about the pleasures of archives, at least not the one described here.
Diego A. Godoy is a PhD candidate in Latin American history at The University of Texas at Austin and Castañeda Graduate Research Assistant at the Benson Latin American Collection. 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, of the article “Inside the Agrasánchez Collection of Mexican Cinema,” which appeared in the fall 2020 issue of Portal magazine.
Along the Pacific coast of Colombia lies the vibrant and growing seaport city of Buenaventura. The city also serves as home to a large portion of Colombia’s Afro-descendant communities. Colombia, with one of the largest populations of Afro-descendant peoples in Latin America, serves as home to countless Afro-Colombians, a large number of whom live in coastal regions or rural areas, and more recently in urban spaces—a result of ongoing displacement.
This past October, the LLILAS Benson Digital Initiatives unit at The University of Texas at Austin launched the second of three post-custodial projects with new partners, the Proceso de Comunidades Negras (PCN), specifically focused on the records held at the Buenaventura office serving the Palenque Regional El Kongal. These materials, held for over two decades by PCN, represent a crucial addition not only to human rights documentation of Colombia’s ongoing war and drug-trafficking related conflicts, but also as testament of resilient efforts by Afro-descendant Colombian communities to define and secure recognition and ethno-racial rights in Colombia. Preliminary selection of potential records to be digitized included photographs of cultural events and community mapping gatherings, notable agendas from previous national asambleas (assemblies), and collaborative environmental and humanitarian reports related to Afro-Colombian community issues.
PCN digitization project coordinator Marta works with Marisol to identify documents (photo: Anthony Dest)
As part of the recently awarded Andrew W. Mellon Foundation grant titled “Cultivating a Latin American Post-Custodial Archival Praxis,” LLILAS Benson’s post-custodial team coordinated a weeklong training in Colombia. As part of the project’s structural support, LLILAS Benson representatives delivered digitization equipment, facilitated financial resources to pay digitization technicians, and developed custom step-by-step guides on how to successfully complete the PCN digitization project. The trainings, held at the offices of PCN and led by Latin American Metadata Librarian Itza Carbajal and LLILAS PhD candidate Anthony Dest, covered multiple topics, including how to scan historic materials using professional equipment, identifying and documenting metadata about collection materials such as photographs, and brainstorming future visions for PCN’s historic archival collections.
Metadata Librarian Itza demonstrates digitization and description instructions to project team members Marisol and Luz Stella (photo: Anthony Dest)
Throughout the training, LLILAS Benson and PCN team members reviewed and conducted preliminary scans and developed descriptions for a variety of records, including photographs of early PCN community events, reports on living conditions of Afro-Colombians in the region, and organizational planning documents for mobilization. After the weeklong training ended, the LLILAS Benson project team returned to the United States, leaving the PCN digitization team to begin their critical work.
In the LLILAS Benson post-custodial model, archivists work alongside partners from other sectors to preserve and manage their archival materials, often including the digitization of physical archives in order for the materials to remain in their original home. The digital copies then take on the role of scholarly resources made available to researchers, students, faculty, and the general public.
Marisol and Luz Stella practice their metadata creation skills (photo: Anthony Dest)
While LLILAS Benson has been implementing post-custodial methods for over a decade, this grant project focuses on formalizing approaches to working with Latin American partners. In 2014, LLILAS Benson received a planning grant from the Mellon Foundation that introduced our first three archival partners, all concentrated in Central America, for the Latin American Digital Initiatives (LADI). This recent grant continues the work of the planning grant with the inclusion of new partners from Mexico, Colombia, and Brazil. Digitization projects are already under way in Mexico and Colombia, and the LLILAS Benson post-custodial team looks forward to beginning work with the Brazilian partner in early 2019 and finalizing the first phase of the overall grant project.
LEER EN ESPAÑOL
A lo largo de la costa pacífica de Colombia se encuentra la creciente ciudad de Buenaventura. Esta ciudad también es hogar a una de las mayores poblaciones de afrodescendientes en toda América Latina. Los afrocolombianos viven mayormente en las regiones costeras y las zonas rurales, pero recientemente han venido a vivir más en espacios urbanos—un resultado del desplazamiento.
Marta, coordinadora del proyecto digital de PCN, trabaja en la identificación de documentos con dos estudiantes universitarios, Javier y María José (foto: Anthony Dest)
Este pasado octubre la unidad de iniciativas digitales de LLILAS Benson, Universidad de Texas en Austin, lanzó el segundo de tres proyectos pos-custodiales con nuestros nuevos compañeros, el Proceso de Comunidades Negras (PCN). Este proyecto se enfoca en los materiales históricos sobre el trabajo del Palenque Regional El Kongal de PCN, que se encuentran almacenados en la oficina de Buenaventura. Estos materiales, guardados por más de dos décadas, representan una adición esencial al cuerpo de documentos reunidos por LLILAS Benson sobre los derechos humanos. Éstos incluyen no sólo documentos de la guerra civil y los conflictos relacionados con el tráfico de drogas en Colombia, sino también testimonios del esfuerzo de las comunidades afrocolombianas para definir y asegurar el reconocimiento y los derechos etno-raciales en Colombia. La selección preliminar de materiales para digitalizar incluye fotografías de eventos culturales y reuniones para crear mapas comunitarios, agendas de asambleas nacionales anteriores, así como informes ambientales y humanitarios sobre las comunidades afrocolombianas.
Como parte de una subvención de la Fundación Andrew W. Mellon para el proyecto “Cultivating a Latin American Post-Custodial Archival Praxis” (Cultivando una praxis archivística pos-custodial en la América Latina), el equipo de LLILAS Benson coordinó un entrenamiento de duración de una semana para garantizar el éxito del proyecto. El entrenamiento incluyó la entrega de equipos de digitalización, la facilitación de recursos financieros para pagar a los técnicos, así como un repaso de los guías para completar el proyecto de digitalización de PCN. Se llevó a cabo en las oficinas de PCN en Buenaventura y fue dirigido por Itza Carbajal, bibliotecaria de metadatos de América Latina, y Anthony Dest, candidato al doctorado del Instituto de Estudios Latinoamericanos Teresa Lozano Long (LLILAS).
Javier y María José, estudiantes universitarios, organizan documentos del PCN en la preparación para digitalizarlos (foto: Anthony Dest)
El entrenamiento abarcó varios temas: instrucciones para escanear materiales frágiles, cómo identificar y evaluar metadatos de materiales visuales como fotografías, y cómo planear el futuro del archivo histórico de PCN. Juntos, los representantes de LLILAS Benson y PCN revisaron y crearon metadatos para una serie de materiales que incluyeron fotografías de eventos de PCN, informes sobre las condiciones de vida de los afrocolombianos de la región, y documentos administrativos sobre varios esfuerzos de movilización comunitaria. Al completar el entrenamiento, los representantes de LLILAS Benson volvieron a los Estados Unidos dejando el equipo de digitalización de PCN para comenzar su trabajo importante.
En el modelo pos-custodial de LLILAS Benson, los archiveros trabajan junto a sus socios en otros sectores para conservar y administrar sus materiales históricos. Esto muchas veces incluye la digitalización de los materiales físicos para que éstos permanezcan en su lugar de origen. Las copias digitales entonces asumen el papel de recursos académicos que están disponibles a investigadores, estudiantes, profesoras y el público.
El equipo PCN de digitalización y procesamiento archivos festeja el fin del entrenamiento (foto: Anthony Dest)
Si bien LLILAS Benson ha implementado los principios pos-custodiales por más de una década, este proyecto se concentra en formalizar el modelo de trabajo con organizaciones en la América Latina. En el año 2014, LLILAS Benson recibió una concesión de planificación (planning grant) de la Fundación Mellon que introdujo nuestros tres primeros archivos socios, todos basados en Centroamérica; el resultado fue Iniciativas Digitales Latinoamericanas (LADI). La concesión reciente nos permitirá continuar el trabajo de la concesión anterior, ya incluyendo nuevos socios no sólo en Colombia sino también en México y Brasil. Con los proyectos ya lanzados en México y Colombia, esperamos con mucho interés lanzar el trabajo en Brasil al comenzar el año 2019.
Featured photo: Howard Reid’s collection of research materials from his ethnographic field work with the Hup in Brazil; photo: S. Kung
Susan Kung, manager of the Archive of the Indigenous Languages of Latin America (AILLA), kicked off work on the new National Endowment for the Humanities grant, Archiving Significant Collections of Endangered Languages: Two Multilingual Regions of Northwest South America (PD-260978-18, Co-PIs Patience Epps and Susan Kung) with a seven-week trip to the UK and France to acquire and begin the work of digitizing three of the eight collections included in the grant.
Susan Kung scans slides from the collection of Elsa Gomez-Imbert; Linguistics Resource Room, SOAS; photo by Bernard Howard
Kung’s work in the UK relied heavily on collaboration with the Endangered Language Archive (ELAR) at the School of Oriental and African Studies (SOAS), University of London. ELAR, like AILLA, is a digital repository that specializes in providing online access to, and long-term preservation of, multimedia materials in and about endangered indigenous languages. Kung’s trip started in London with a series of meetings at SOAS, where she helped to provide training to researchers in language documentation, archiving, and preservation methodologies, and helped ELAR’s staff plan for its imminent data migration.
Open reel tape machine, Linguistics Resource Center, SOAS; photo: S. Kung
From there, Kung headed to Cajarc in the southwest of France to work with Dr. Elsa Gomez-Imbert, a retired researcher from the French National Research Center who conducted linguistic fieldwork in the Colombian Vaupés from 1973 to 2010 on several different languages of the region, including Tatuyo, Barasana, Karapana, Eduria, Bará, and Makuna, all of which are members of the Eastern Tukanoan language family.
Susan Kung & Elsa Gomez-Imbert in Cajarc, France; photo: S. Kung
Kung and Gomez-Imbert spent four days compiling metadata and creating an inventory of Gomez-Imbert’s audio tapes and slides, all of which Kung then transported to London for digitization at SOAS.
Cajarc, France; photo: S. Kung
Back in London, Kung spent a day doing similar work with Dr. Howard Reid, an anthropologist, documentary filmmaker for the BBC, and chair of the Royal Anthropological Institute’s Film Committee, who lived with the hunter-gatherer Hup people in the Amazon basin in 1974–76.
Susan Kung and Howard Reid in London
Howard Reid’s collection of research materials from his ethnographic field work with the Hup in Brazil; photo: S. Kung
Kung finished up the acquisition part of her trip with four days of inventory and metadata work with Dr. Stephen Hugh-Jones, Emeritus Research Associate at the Cambridge University Department of Social Anthropology, at his office in King’s College, Cambridge. Hugh-Jones and his wife, Christine Hugh-Jones, lived with the Barasana people in the Colombian Vaupés in 1968–1971 and again in 1978–1979, along with their two young children on the second occasion. Over the course of 50 years, Hugh-Jones has worked with Barasana, as well as the Bará, Eduria, Makuna, and Tatuyo people in the Colombian Amazon. His research has included ritual, symbolism and mythology, shamanism, kinship, architecture, barter and gift exchange, food and drugs, and ethno-education.
Stephen Hugh-Jones and Susan Kung, courtyard of King’s College, Cambridge; photo: S. Kung
The Hugh-Jones collection consists of born-digital and analog (cassette and open reel) audio recordings, 45 field notebooks, manuscript transcriptions of recordings, photographs and negatives, and an unprecedented accumulation of indigenous artworks. Kung, along with Bernard Howard, the sound technician for the SOAS Linguistics Department, spent three weeks digitizing these collections at SOAS, where Howard concentrated on digitizing the 137 audio tapes (cassettes and open reels) and Kung focused on scanning slides and paper documents.
Bernard Howard, sound technician, SOAS, working with cassette tapes from the collection of Elsa Gomez-Imbert
When it was time for Kung to return to Austin in mid-October, she and Howard had completely finished digitizing two of the three collections—those of Elsa Gomez-Imbert and Howard Reid—and Kung had finished digitizing the indigenous art compiled by the Hugh-Joneses.
50 years’ worth of ethnographic research in a wooden cart (Hughs-Jones collection), courtyard of King’s College, Cambridge
Before returning home, Kung returned Reid’s and Gomez-Imbert’s collections to them, and shipped the remainder of the Hugh-Jones collection to AILLA, where it will be digitized during this academic year and then returned to the Hugh-Joneses. Once all the digital files from all three collections have been curated in collaboration with the Gomez-Imbert, Reid, and Hugh-Jones, they will be ingested into AILLA and available for public viewing.
