White, heterosexual men have long dominated archival records. However, the Nettie Lee Benson Latin American Collection has a new archival exhibition that indicates the times are changing.
The Benson Collection is pleased to commemorate the acquisition of the Alicia Gaspar de Alba Papers in the Rare Books and Manuscripts Reading Room on Thursday, May 2, at 4 p.m., with a visit from the author herself. During the presentation, Gaspar de Alba will read from her published creative writings as well as participate in a discussion with Mexican American and Latina/o Studies faculty member and community activist Lilia Rosas. Additionally, a selection of the Alicia Gaspar de Alba papers will be on view in an exhibition titled “This is about resistance”: The Feminist Revisions of Alicia Gaspar de Alba. The Benson acquired these papers in fall of 2017 through a generous donation from the notable Chicana feminist scholar, professor, and author.
The exhibit highlights the intersections of Gaspar de Alba’s scholarly and creative endeavors. Early poetry, essays on identity as a queer Chicana feminist, journal entries, research notes for novels and scholarly work like Desert Blood (2005) and Making a Killing (2010), correspondence with UT Press, novel manuscripts, and photographs will all be on display for visitors.
Gaspar de Alba is a native of El Paso/Ciudad Juárez, but has lived for over twenty-five years in Los Angeles, where she is a founding faculty member and former chair of the UCLA César E. Chávez Department of Chicana/o Studies. She is currently the Chair of the LGBT Studies Program and has affiliate status with the English Department. A celebrated writer and scholar, she has won various awards, including the Lambda Literary Award for Best Lesbian Mystery Novel (Desert Blood) and the American Association of Higher Education Book Award for [Un]framing the “Bad Woman” (2015).
This event is co-hosted by the University of Texas Libraries and LLILAS Benson Latin American Studies and Collections, who gratefully acknowledge the following co-sponsors: the Center for Mexican American Studies and the Center for Women’s and Gender Studies.
About the Benson Latin American Collection
The Nettie Lee Benson Latin American Collection is one of the foremost collections of library materials on Latin America worldwide. Established in 1921 as the Latin American Library, the Benson is approaching its centennial. Through its partnership established with the Teresa Lozano Long Institute of Latin American Studies in 2011, the Benson continues to be at the forefront of Latin American and U.S. Latina/o librarianship through its collections and digital initiatives.
A packed house at the Benson Latin American Collection was treated to a stunning set of music for the 17th annual ¡A Viva Voz! Celebration of Latina/o Arts and Culture, held April 4.
To be in the audience for “Cantos y Cuentos,” with singer-songwriters Tish Hinojosa and Lourdes Pérez, was to be drawn into an intimate conversation, an evening of poetry and song and sentiment that was poignant and personal, and at times delightfully humorous.
“Embodied in you is the history of thousands and thousands of years and hours of work and activism and human rights and cultural work, so I want to give you a round of applause for being here with us tonight,” said Pérez, before opening the concert with her song “Remolinos.”
In a set that was arranged song-swap style, Hinojosa followed with “Amanecer,” a love song written for her mother.
The emotional range of the concert was among the details that made it remarkable. One of the most touching songs of the evening was Hinojosa’s “The West Side of Town,” the tale of her parents, Felipe and María, which she wrote for her children so that they would learn about their grandparents, both of whom died before Hinojosa’s children could know them. Following that number, Pérez turned to her friend and said, “Tish, that’s a beautiful song, and I just wanted to tell you … I admire you, your beautiful voice, your songwriting—your beautiful songwriting—and I look up to you. Thank you for everything you’ve done in your life and your career.” These words, and this moment of one performer responding to the other, capture the authenticity of the evening.
Pérez’s wonderful sense of humor was on display with the songs “Héroe” (about a messenger dog, written in the poetic form known as décimas) and “A tu amor renuncio” (I Resign from Your Love—a breakup song for the digital age). In introducing the lovely “Roses Around My Feet,” Hinojosa claimed it was as close as she could come to a breakup song; the lyrics were inspired by the saying “No me estés hechando flores”— don’t be a flatterer—taught to her by her mother.
“Carrusel,” by Pérez, stood out as a stirring commentary on our time: “Diez mentiras repetidas son igual a una verdad” (“A lie, repeated ten times, equals the truth,” she translated.) In the haunting refrain, Pérez sings, “¿Qué veo? Nada. ¿Qué oigo? Nada. Y, ¿qué hago? Nada.” (What do I see? Nothing. What do I hear? Nothing. And what do I do? Nothing.)
The artists closed the concert with two duets, Hinojosa’s tender and enduring “Manos, Huesos, y Sangre,” written for Mexican artist Frida Kahlo, and Pérez’s anthem-like “Tengo la vida en las manos” (I Have Life in My Hands).
Before teaching the chorus of “Tengo la Vida” to the audience, Pérez spoke: “We still have the opportunity of creating spaces of freedom of speech. Who would have known that it was so threatened?” And she acknowledged the importance of places like LLILAS Benson, and of “this opportunity to celebrate life, to go into institutions of higher learning to tell our stories, and to straighten up the story that is being told” about us. (Adding another dimension to this statement, Hinojosa’s archive is housed at the Benson Latin American Collection.)
I have life, I have life,
I have life in my hands.
It is a consequence of being a woman.
It is a consequence of being human.
And then we all sang,
Tengo la vida, tengo la vida, tengo la vida en las manos.
Es consecuencia de ser mujer, es consecuencia de ser humano!
LLILAS Benson Latin American Studies and Collections is proud to present “Cantos y Cuentos: An Evening with Tish Hinojosa and Lourdes Pérez” for the 17th annual ¡A Viva Voz! Celebration of Latina/o Arts and Culture, coming to the Benson Latin American Collection, 2300 Red River Street, on Thursday, April 4, 2019, at 7 p.m.
In “Cantos y Cuentos,” San Antonio native Tish Hinojosa and Puerto Rican–born Lourdes Pérez will share the stage for song and conversation, giving the audience a front seat to the stories and histories behind each composer’s music, and glimpse of a friendship that spans many years.
Hinojosa is one of 13 children born to immigrant parents. The Southwest has been a focal point for her songwriting in English and Spanish, in styles ranging from Tejano to singer-songwriter folk, border music, and country. In a career spanning more than three decades, she has toured extensively in the U.S. and Europe, recorded in English and Spanish as an independent artist for major record labels, and has been a featured artist on Austin City Limits and A Prairie Home Companion. Hinojosa was praised by the Chicago Tribune as “a first-class songwriter,” and her supple voice lends itself well to a variety of genres. Her most recent album, West, includes new originals and an eclectic mix of covers.
Hinojosa was an invited performer at the White House at the invitation of President Bill Clinton and then First Lady Hillary Clinton. She has performed with Joan Baez, Booker T. Jones, Flaco Jimenez, Pete Seeger, and Dwight Yoakam. The Benson Latin American Collection is the repository of Hinojosa’s archive.
When she began touring in the early 1990s, Lourdes Pérez was one of the only out Latina lesbians in the music world. Known for her soulful contralto voice, she takes on difficult topics in her songs, such as war and social justice, but also pens beautifully crafted lyrics on a range of topics. She is one of the few female writers of décimas, a form of Spanish poetry. Pérez’s performances have taken her to war zones and contested areas such as Chiapas and Palestine, and she has collaborated onstage and off with songwriters and performers in those areas and others, including translating lyrics from Arabic into Spanish.
In 2006, Pérez was one the first five artists in the US to be awarded a United States Artists Fellowship for Music, naming her “one of the finest living artists in the country.” Pérez is also a poet and oral historian. Her most recent project, Still Here: Homenaje al West Side de San Antonio, is a book and CD with original compositions by Pérez, performed by a variety of artists, inspired by oral histories of some of San Antonio’s most revered elders. The release of the project included a multimedia performance.
While I’ve been working in the Black Diaspora Archive (BDA) for just under two months now, I’ve already experienced and learned so much. BDA’s mission is to document the Black experience in the Americas and Caribbean. Under the guidance of our inaugural Black Diaspora Archivist, Rachel Winston, I’ve been given the opportunity to do my part in accomplishing this mission.
Currently, I’m processing the Judith Bettelheim Papers and making that collection available for researchers to use. Dr. Judith Bettelheim is a retired university professor, curator, and art historian, specializing in Afro-Caribbean festival and performance arts. Throughout her long and accomplished career, Dr. Bettelheim has helped to expand the field of art history beyond the limited lens of Western art and has pushed for the increased prominence of African and African Diasporic art in published scholarship.
Among other materials, the Judith Bettelheim Papers include handwritten field notebooks and interview transcripts from her trips to Caribbean nations, hundreds of photo slides of Caribbean festival performers, and research relating to her exhibitions and publications on Cuban visual artists like José Bedia and Eduardo “Choco” Roca Salazar. Being able to handle these records has allowed me to gain a better understanding not only of Dr. Bettelheim, but also of the people and places on which she’s focused so much of her life’s work. Preserving cultural heritage and making the records of historically underrepresented individuals and groups widely accessible is definitely a privilege, and it makes coming to work every day something to look forward to.
Beyond gaining valuable hands-on experience with archival materials and all the steps present in making them ready for research use, I’ve also been able to shadow Rachel in her daily work and better understand what it means to be an archivist not simply in theory, but in practice. And I’ve learned that depending on the day, it means a lot of different things – deinstalling exhibitions, providing reference support in the Reading Room, preparing materials for the next exhibition, visiting classes to discuss the work we do as archival professionals and how students can incorporate archival practices into their own documentary efforts, installing a new exhibition, and so on.
In my short time in the Black Diaspora Archive, I’ve already found myself involved with an active and dedicated community focused on providing a space for those who historically have not had any and a voice for those who have often been silenced. It’s been an inspiring and eye-opening experience, and I’m looking forward to becoming even more involved over the coming months.
“Illuminating Explorations” – This series of digital exhibits is designed to promote and celebrate UT Libraries collections in small-scale form. The exhibits will highlight unique materials to elevate awareness of a broad range of content. “Illuminating Explorations” will be created and released over time, with the intent of encouraging use of featured and related items, both digital and analog, in support of new inquiries, discoveries, enjoyment and further exploration.
As the holiday season quickly approaches, many in the Latinx community are gearing up to celebrate both Christmas as well as Las Posadas. A lesser known celebratory act performed during the holiday season are the plays known as pastorelas. Pastorelas can be traced back to the 16th Century when Franciscan monks leveraged the strong artistic culture of the Mexica people in Tenochtitlan to evangelize them by incorporating Christian ideals into their performance tradition.
Historically, pastorelas have told the story of how Satan attempted to thwart the travels of the shepherds following the Star of Bethlehem in search of the baby Jesus. While pastorelas have maintained the general premise of good vs. evil, the roles of what constitutes both the good and the evil have changed to encompass contemporary issues that have faced the Latinx communities. Immigration, racism, politics, and a plethora of other topics have been incorporated into pastorelas to transmit opinions and ideas to audiences, both religious and secular.
Please visit the digital exhibit to see the beautiful illustrations in “el Triunfo” as well as some of the other spectacular rare books available to view from the Benson Collection. Also, peruse Zayas’ entire book, which has been digitized and can be viewed at Texas ScholarWorks.
Gilbert Borrego is the Digital Repository Specialist for Texas ScholarWorks, UT’s institutional repository (IR).
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
The Benson Latin American Collection is proud to host Field Notes: The 9th Annual LLILAS Benson Student Photography Exhibition. Thirty prints that comprise the show will adorn the Benson’s first-floor gallery through January.
Each fall, LLILAS Benson invites graduate and undergraduate students from all departments and disciplines to submit photographs to the exhibition. Through these images, student photographers document moments from their summer research on Latin America or US Latina/o communities.
A panel of faculty and staff judges chooses two outstanding images from the collection. This year, the prize-winning photographers are Jesús Nazario (MA student, LLILAS) and Monika Husodo (BA student, Architectural Interior Design).
The exhibition is free and open to the public during library hours. View the entire photo album on Facebook.
Featured: “Mecatla,” by Jesús Nazario. This prize-winning photo was taken in The Land of Fresh Water, Guerrero, Mexico.
“The first time I walked into the fourth floor of the Nettie Lee Benson library, as a recently admitted PhD student, tears ran down my cheeks. I remember that moment, when I was there, alone, looking at that iconic corridor with hundreds of shelves and thousands of books. My tears were for excitement because I understood that that place was going to be a second home for me for many years to come.”
With these heartfelt words, spoken at a September 6 dinner announcing the centennial campaign for the Benson Latin American Collection, Adriana Pacheco Roldán exhorted assembled guests to join her in a project involving both the heart and the preservation of memory. Pacheco is chair of the International Board of Advisors established by University of Texas at Austin President Greg Fenves. She and her husband, Fernando Macías Garza, both hold doctorates from Texas. The couple has donated $50,000 to establish the Benson Centennial Endowment, which officially kicks off the countdown to the collection’s 2021 Centennial.
Pacheco was a keynote speaker at An Evening of Discovery, a gala dinner hosted by the University of Texas Libraries and the Provost’s Office to officially kick off the Benson Centennial campaign. As is fitting for a PhD in literature, she began her speech by evoking Aureliano Buendía, the patriarch of Gabriel García Márquez’s One Hundred Years of Solitude, who “fought against the plague of memory loss suffered by all inhabitants of Macondo” by labeling every object he could. “For almost 100 years, the Nettie Lee Benson Latin American Collection has been a place to keep our memories and our heritage,” said Pacheco.
Yet the recent tragic loss at Brazil’s National Museum of virtually all of its contents means that we must take responsibility for protecting the treasures of the Benson, Pacheco continued. Again invoking family and generational ties, she laid out a challenge to the assembled guests: “As we say in Spanish, you are the padrinos, the godfathers and godmothers, of the Benson Centennial Endowment launch, and I invite you to join our efforts: Give now, give today, give later, find somebody willing to give, promote, spread the word, come and visit, join the events, make the Benson Collection part of your lives.”
Message from Melissa Guy, director, Nettie Lee Benson Latin American Collection
We are deeply saddened by the destruction of the National Museum of Brazil, in which so many irreplaceable treasures were lost. We stand in solidarity with the museum’s employees, the people of Rio de Janeiro, and the people of Brazil as they mourn the loss not only of a collection of immeasurable value, but also of a splendid historic building. As we consider this devastating event, we are grateful that there was no loss of life in the fire. As a collection committed to preserving and sharing knowledge about Latin America, we will seek ways to support the scholars, curators, and other museum employees who have acted as stewards of these precious materials and have used them to teach others.
Mensagem de Melissa Guy, diretora, Nettie Lee Benson Latin American Collection
Estamos profundamente consternadxs com a destruição do Museu Nacional no Rio de Janeiro, Brazil, e com ela a perda de riquezas e patrimônios irreparáveis. Manifestamos total solidariedade com xs funcionárixs do museu, com a população do Rio de Janeiro e do Brasil, em luto pela perda não só de coleções de valores incomensuráveis, mas também de seu esplêndido prédio histórico. Ao ponderarmos sobre este acontecimento devastador, conforta-nos saber que nenhuma vida foi perdida no incêndio. Enquanto coleção comprometida em preservar e dividir conhecimentos a respeito da América Latina, buscaremos maneiras de apoiar acadêmicxs, curadores, e demais funcionárixs do museu, que agiram como guardiões de tais materiais preciosos, usando-os para ensiná-los a outrxs.