In 1920, Regent H. J. Lutcher Stark and Historian Charles Wilson Hackett, representatives of The University of Texas attending President Álvaro Obregón’s inauguration in Mexico City, were transfixed by the sight of the first edition in Spanish of Bernal Díaz del Castillo’s True History of the Conquest of New Spain (1632). There, in a bookstore window, was the eyewitness account by a conquistador of the early Spanish adventures in Mexico. That single purchase led to the eventual acquisition in 1921 of the Genaro García library, an exquisite collection of print, manuscript, and photographic materials for the study of Mexico, the Americas, the West Indies, and Spain. García was regarded during his life as one of the Mexico’s foremost educators, historians, editors, and bibliophiles, whose 25,000-volume library was widely used by researchers seeking information on Mexico’s past.
Upon its arrival in Austin, the García Library was immediately made available to the university’s students and faculty under the able administration of Lota May Spell, noted historian, educator, and musician. The expanding role of Spanish language and culture in U.S. higher education by the 1920s, moreover, helped advance the idea of developing a library at The University of Texas whose mission would encompass all of Central and South America. The end of Dr. Spell’s tenure as curator of the García Library coincided with the University Library’s proposal to create a Latin American Collection in 1926 headed by Carlos E. Castañeda. After his arrival on campus in 1927, the library grew through purchase; assiduous gifts and exchange programs with many Latin American governments, academic societies, and cultural organizations; and the receipt and purchase of specialized research libraries and manuscript collections.
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.
The Benson Latin American Collection is pleased to announce the acquisition of the Catalina Delgado-Trunk Papers. Delgado-Trunk is a Mexican-born artist known for her work in the intricate papel picado art form. The contents of the papers include correspondence, program materials, press releases, news clippings, exhibit slides, and files. Undoubtedly, the true gems of the acquisition are the approximately 250 sketches, drawings, and drafts that Delgado-Trunk created to document her process as an artist.
Delgado-Trunk is no stranger to The University of Texas at Austin. She earned her BA in French with a focus on literature here in 1965, and the city holds a special place in her heart, for it is in Austin that she met her husband Jim, then a student at St. Edward’s University. After graduating, Delgado-Trunk pursued a career in teaching French and ballet while raising two children at home. However, her decision to reenroll in a visual arts program at the age of 49 is what set her on a path of artistic self-discovery that would reconnect her to her childhood in Mexico City.
Since then, the artist has become world-renowned for her expertise in papel picado, the rich Mexican tradition of elaborate and decorative paper cutting with roots in the Aztec use of a rough paper called amatl. The art form took off with the introduction of a thin tissue paper from the Philippines that arrived during the colonial era.
The process of creating high-end papel picado is painstaking and intense. Delgado-Trunk employs a strict routine that consists of researching the Mesoamerican subject matter through countless books, sketching rough drafts on graph or clear print paper, copying the final drawing onto an architectural copy machine, stapling the copy-paper drawing to a final sheet, and then using an x-acto knife to cut out the negative space. The x-acto knife portion alone can last 10 to 40 hours. Finally, she glues the cutout work to an acid-free fine art paper background.
Papel picado interests Delgado-Trunk for its cultural synthesis. Asian, indigenous, Iberian, and African influences all worked together to foster the art form through goods, trade routes, and subject matter. Delgado-Trunk, who grew up in Mexico during the 1940s and 1950s, an era marked by the promotion of cultural syncretism as found in the artwork of Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, pays homage to this period through her pieces. For two decades now, the artist has made works that blend pre-Columbian stories and images with subjects from the contemporary world, such as Mexican Catholic iconography. Camino al Mictlán and Las Tres Catrinas are two examples of her fascination with indigeneity in Mexico, while Mestizaje highlights the cultural syncretism between indigenous and European groups.
Aside from her own pieces, Delgado-Trunk has been instrumental in passing on her knowledge to younger generations through workshops and classroom visits, particularly in New Mexico, where she now resides. Her papers include many thank-you cards from students and teachers whose lives she has affected. Her impact has been noticed: among her many awards are the 2015 Annual New Mexico Governor’s Award for Excellence in the Arts, a 2013 Acknowledgment and Recognition by the Bernalillo County Board of Commissioners in New Mexico, and a 2005 Award of Excellence from the New Mexico Committee of Women in the Arts. She has also exhibited her works in places as prestigious as the Smithsonian’s National Museum of the American Indian, the Museum of Contemporary Art in Kanazawa, Japan, and the Museum of International Folk Art in Santa Fe.
Four Centuries of Rare Documents Will Be Digitized
August 8, 2018, was an auspicious day for students of Mexican history. An agreement signed between LLILAS Benson and the Tribunal Superior de Justicia del Estado de Puebla marks the official start of a project to digitize a large collection of archival materials from the Fondo Real de Cholula. Funding for the project comes from a Mellon Foundation grant obtained by LLILAS Benson.
The archives in question, which originate in the Mexican town of Cholula, Puebla State, consist of approximately 200 boxes and span some four centuries, from the 1500s to the late nineteenth century. Once digitized, they will be made available to researchers on an open-access platform by the Benson Latin American Collection and the University of Texas Libraries. The materials document, among other things, how Indigenous residents of Cholula navigated colonial judicial structures unique to their special juridical status.
A Rich Trove of Information
The materials will provide a rich trove of information about the colonial period, referred to in Mexico as la época novohispana. Cholula was one of only nine locations to be designated a ciudad de indios (in contrast, there were 21 ciudades de españoles). Ciudades de indios had a different justice system than others. Indigenous people paid their tribute directly to the king instead of to a colonial intermediary; they enjoyed certain privileges, and they maintained a fully functioning Indigenous cabildo, or council, which ruled alongside the Spanish one. “This allowed for a degree of Indigenous autonomy and exercise of special privileges in the new colonial context,” explains Professor Kelly McDonough of the UT Austin Department of Spanish and Portuguese.
LLILAS Benson might never have known about the collection in question had it not been for McDonough, who identified the collection as a good candidate for digitization. She emphasizes that the digitization of ciudad de indios documents has immense historical significance: “It’s the first time we will be able to understand what Indigenous justice meant in place with a very specific juridical designation and relationship with the king of Spain. We believe that the other eight judicial archives from ciudades de indios burned in the Mexican Revolution.”
“The chronological range of the collection will allow scholars to study how Indigenous practices adapted to Spanish rule, how new practices developed over the course of the early-modern period, and how both Indigenous and Spanish practices further adapted to modern political and legal structures in the nineteenth century,” adds LLILAS Benson digital processing archivist David Bliss.
The Digitization Process
A team of three historians from Puebla and Cholula will work in Puebla to digitize the collection, creating two digital copies—one to remain in Puebla and the other to be sent to Austin for preservation and online publication. In addition, all of the digitized materials will be extensively described using a metadata template developed by LLILAS Benson and its Puebla partners. The historians involved in the project are experts in sixteenth-through-nineteenth-century Cholula.
Dra. Lidia Gómez García of Facultad de Filosofía y Letras at Benemérita Universidad Autónoma de Puebla (BUAP) was instrumental in keeping interest in the project going amid inevitable delays. Together, she and McDonough helped choose the personnel to carry out the important work of digitization and creating of metadata for the collection. LLILAS Benson Director Virginia Garrard relates that the team working with the archives in Puebla feels a deep and personal connection with the material; the fact that they are rescuing their own patrimony from decay is immensely meaningful to them.
Last June 2018, Bliss and LLILAS Benson archivist Dylan Joy conducted a training workshop in Puebla for the digitization team. The team will carry out the project using a DSLR camera and two laptops, as well as the digital photography program Adobe Lightroom. The equipment, purchased by LLILAS Benson with Mellon grant funds, will be donated to the Puebla archive at the conclusion of the project, which is set for early May 2019. Bliss estimates that the project will digitize some 45,000 pages of documents.
The final, digitized documents will be ingested into the Latin American Digital Initiatives (LADI) platform, allowing researchers to form connections between the Fondo Real de Cholula documents and other collections on the platform.
A Groundbreaking Collaboration
Director Garrard, herself a historian, hails this project for bringing to light lesser-known historical actors. “This collaboration represents the lives and voices of groups traditionally omitted from the historical record,” she said. “The signing event highlighted the power of close and horizontal relationships between our two institutions, so clearly evident in the presentations of the young Mexican technical specialists and students who described for us their work with the documents, both as material artifacts and as historical sources.”
Quoted in Puebla’s El Popular, Héctor Sánchez Sánchez, presiding magistrate of the Tribunal Superior de Justicia, noted Puebla’s pride in the collaboration: the digitization of Fondo Real de Cholula is the first digitization project at an institution in the Mexican justice system. “Even more so for those of us who are part of this institution,” said Sánchez, “[the rescue of] this archive can achieve a change in the way we understand history.”
Nota editorial: Citamos un reportaje del Archivo de Seguridad Nacional (National Security Archive) de George Washington University: “El renombrado Archivo Histórico de la Policía Nacional de Guatemala (AHPN) se encuentra en crisis después de que su director, Gustavo Meoño Brenner, fue despedido de manera súbita, resultado de una serie de acciones orquestradas por el gobierno guatemalteco y una oficina de las Naciones Unidas. Estas mismas acciones dejaron el personal del archivo, más de 50 personas, bajo contrato provisional, y transfirió la responsabilidad por el archivo al Ministerio de Cultura y Deportes, quitándola del archivo nacional, donde ha residido desde el 2009.”
Esta situación materializó el 3 de agosto, una semana después de un seminario patrocinado por LLILAS Benson Colecciones y Estudios Latinoamericanos y el Centro Rapoport para los Derechos Humanos y la Justicia, que tuvo lugar en AHPN. Bajo el título “Archivos y derechos humanos: experiencia de colaboración entre el AHPN y la Universidad de Texas,” el seminario ofreció la oportunidad de reflexionar sobre los siete años de colaboración entre la Universidad de Texas y el AHPN.
Dado las novedades inquietantes sobre el AHPN, la Dra. Virginia Garrard, directora de LLILAS Benson, dijo, “LLILAS Benson afirma su compromiso a AHPN y su apoyo por la preservación de esta colección histórica, la cual es fundamental para la búsqueda de la justicia, el rescate de la memoria histórica en Guatemala y al resguardo de la historia nacional guatemalteca desde el siglo XIX.”
El personal de LLILAS Benson Colecciones y Latinoamericanos y el Centro Rapoport para los Derechos Humanos y la Justicia viajó a la Ciudad de Guatemala para participar en un seminario sobre la alianza entre la Universidad de Texas y varias instituciones guatemaltecas que trabajan con archivos.
El evento tuvo como título “Archivos y derechos humanos: experiencia de colaboración entre el AHPN y la Universidad de Texas,” y se realizó el 27 de julio en el Archivo Histórico de la Policía Nacional (AHPN), que se ubica en un hospital inacabado en donde, en 2005, se descubrieron más de ochenta millones de archivos pertenecientes a la Policía Nacional, bastantes de ellos encontrados en estado precario. Durante más de diez años, un equipo de archiveros guatemaltecos ha trabajado intensivamente para preservar, organizar y dar acceso a esta colección en riesgo.
Durante el seminario, los participantes reflejaron sobre la alianza de más de siete años entre el AHPN y la Universidad de Texas. Esta alianza ha permitido la fundación de colaboraciones digitales, académicas y pedagógicas, incluyendo la introducción, en 2011, de un acervo digital alojado por el sistema de bibliotecas de la Universidad de Texas.
Los anfitriones del seminario fueron Gustavo Meoño, director del AHPN, y Anna Carla Ericastilla, directora del Archivo General de Centroamérica. Virginia Garrard, la directora de LLILAS Benson; Dan Brinks, el co-director del Centro Rapoport; y Theresa Polk, la directora del programa de materiales digitales de LLILAS Benson; y fueron quienes expusieron sobre la historia de la alianza internacional y su importancia para la recuperación de la memoria histórica y la búsqueda de democracia y justicia transicional en Centroamérica.
Giovanni Batz, Brenda Xum, María Aguilar, and Hannah Alpert-Abrams—todos ex-alumnos y ex-alumnas de LLILAS Benson—hablaron sobre el impacto del archivo tanto en sus carreras como en su entendimiento de la historia de Guatemala. Especialmente conmovedores fueron los comentarios de ex alumnos guatemaltecos de la Universidad de Texas cuya comprensión de su patrimonio cultural fue moldeada por el estudio del AHPN. Como comentó Brenda Xum, “los archivos cuentan una historia humana.”
Dos socias del archivo, Enmy Morán y Tamy Guberek, ofrecieron una visión para el futuro de AHPN, incluyendo nuevas técnicas en la preservación de los archivos y nuevos métodos cuantitativos para descubrir las historias contenidas en ellos.
Alrededor de 75 investigadores, archivistas, estudiantes y miembros de la comunidad asistieron al evento, que fue abierto al público. Estos participantes tuvieron la oportunidad de hacer preguntas. Entre ellas, hubo preguntas sobre los desafíos de la preservación digital, la dificultad de acceder la información archivística y las cuestiones éticas implícitas en publicar información delicada en línea.
Durante una tarde bastante cálida, los participantes comentaron sobre la manera en que la conferencia reanimó su interés en las investigaciones archivísticas y la historia guatemalteca. Al final, una participante se paró de pié para felicitar a las personas miembras del panel durante el evento. “Antes, realmente no conocía este archivo,” dijo. “Tampoco sabía sobre su importancia en la historia de mi país.”
El seminario “Archivos y derechos humanos: experiencia de colaboración entre AHPN y UT Austin” fue patrocinado por el Archivo Histórico de la Policía Nacional (AHPN), LLILAS Benson Colecciones y Estudios Latinoamericanos y el Centro Rapoport para los Derechos Humanos y la Justicia.
Hannah Alpert-Abrams, PhD, es becaria posdoctoral CLIR en LLILAS Benson Colecciones y Estudios Latinoamericanos. Traducido del inglés por Hannah Alpert-Abrams y Susanna Sharpe.
Editor’s note: From the National Security Archive at George Washington University: “Guatemala’s renowned Historical Archive of the National Police (AHPN) is in crisis after its director, Gustavo Meoño Brenner, was abruptly removed in one of a series of recent actions orchestrated by the Guatemalan government and a United Nations office. The actions also placed the AHPN’s remaining staff of more than fifty people on temporary contract, and transferred oversight for the repository from the country’s national archives, where it had functioned since 2009, to the Ministry of Culture and Sports.” (See Guatemala Police Archive Under Threat.)
These actions took place on August 3, a week after LLILAS Benson Latin American Studies and Collections joined UT’s Rapoport Center for Human Rights and Justice in Guatemala City to host “Archives and Human Rights: A History of Collaboration between the University of Texas and the Historic Archive of the National Police.” The one-day seminar was an opportunity to reflect on seven years of partnership between the University of Texas and the AHPN, which preserves records documenting over one hundred years of police activity in Guatemala.
Given the recent alarming developments at AHPN, Virginia Garrard, director of LLILAS Benson Latin American Studies and Collections at The University of Texas at Austin, stated, “LLILAS Benson affirms its commitment to supporting the preservation of this historic collection, which is so fundamental to the pursuit of justice, the recovery of historical memory in Guatemala, and to the preservation of Guatemala’s national history dating back all the way to the nineteenth century.”
Representatives from LLILAS Benson Latin American Studies and Collections and the Bernard and Audre Rapoport Center for Human Rights and Justice visited Guatemala City on July 27 for a seminar on archival partnerships between the University of Texas and Guatemalan institutions.
The event, “Archives and Human Rights: A History of Collaboration between the AHPN and the University of Texas” was held at the Archivo Histórico de la Policía Nacional (Guatemala National Police Archive, or AHPN). The AHPN is located in the unfinished hospital building where over 80 million pages of archival materials were found, in various states of preservation, in 2005. For over ten years, Guatemalan archivists have been working to preserve, organize, and provide access to this vulnerable collection.
During the seminar, speakers reflected on the seven-year partnership between the AHPN and the University of Texas, which has featured scholarly, pedagogical, and digital collaborations, including the 2011 launch of the UT-hosted digital portal to the AHPN.
The one-day event was hosted by the director of the AHPN, Gustavo Meoño, and by Anna Carla Ericastilla, the director of the Archivo General de Centroamérica. Virginia Garrard, director of LLILAS Benson; Dan Brinks, co-director of the Rapoport Center; and Theresa Polk, director of digital initiatives for LLILAS Benson, spoke about the history of the partnership and its importance for reconstructing historical memory and the pursuit of democracy and transitional justice in Central America.
LLILAS Benson alumni Giovanni Batz, Brenda Xum, María Aguilar, and Hannah Alpert-Abrams discussed the impact of teaching and learning with the archive on their professional careers and their personal understanding of Guatemalan history. Especially moving were personal stories from former UT students whose understanding of their cultural heritage was shaped by studying the AHPN. As Brenda Xum remarked: “los archivos cuentan una historia humana” (“the archives tell a human story”).
Longtime AHPN affiliates Enmy Morán and Tamy Guberek offered visions of the future of research with the AHPN, including new approaches to archival practice and new quantitative methods for uncovering archival histories.
About seventy-five scholars, archivists, students, and community members attended the conference, which was open to the public. Among the topics addressed in audience questions were the challenges of digital preservation, the difficulties of accessing archival information, and the ethics of publishing sensitive information online.
Throughout the very warm afternoon, participants commented on the ways that the conference had reinvigorated their interest in archival research and Guatemalan history. At the end of the day, one audience member stood to congratulate the panelists on a successful event. “Before this event I didn’t really know about this archive,” she said, “and I didn’t know about its importance to my country’s history.”
The seminar “Archivos y derechos humanos: experiencia de colaboración entre AHPN y UT Austin” was co-sponsored by Archivo Histórico de la Policía Nacional (AHPN), LLILAS Benson Latin American Studies and Collections, and the Bernard and Audre Rapoport Center for Human Rights and Justice.
Hannah Alpert-Abrams, PhD, is the CLIR postdoctoral fellow in data curation at LLILAS Benson Latin American Studies and Collections.
The University of Texas Press has published the first encyclopedic examination of the renowned Nettie Lee Benson Latin American Collection (Benson), providing a window into the rich Latin American resources for research and study at The University of Texas at Austin.
Showcasing the incredible depth, diversity and history of the Benson Collection, “A Library for the Americas” presents rare books and manuscripts, maps, photographs, music, oral histories, art and objects dating from around 1500 to the present.
Founded in 1921, the Nettie Lee Benson Latin American Collection at The University of Texas at Austin has become one of the world’s great libraries for the study of Latin America, as well as the largest university library collection of Latin American materials in the United States. Encompassing all areas of the Western Hemisphere that were ever part of the Spanish or Portuguese empires, the Benson Collection documents Latin American history and culture from the first European contacts to the current activities of Latina/os in the United States. The Benson is partner in an innovative collaboration with the Lozano Long Institute of Latin American Studies — collectively called LLILAS Benson Latin American Studies and Collections — that attracts top students, scholars and researchers from around the world.
The Benson collections represent one of the most extensive compilations of materials related to Latin American culture and history in the world, housing approximately 1 million volumes, 4,000 linear feet of manuscripts over 400,000 slides and photographs and an additional 50,000 other items of ephemera and media, representing North, Central and South America, as well as the Caribbean.
The 229-page volume features color images and plates of the unique holdings paired with essays and reflections by distinguished scholars of Latin American and Latina/o studies, who describe the role that the Benson Collection has played in the research and intellectual contributions that have defined their careers.
Benson Librarian and Director Melissa Guy is elated by the book’s publication.
“’A Library for the Americas’ is unique in that it is both a beautiful representation of the Benson’s holdings, as well as a selection of thought-provoking essays from researchers who have used the Benson’s vast holdings to do their work,” says Guy. “Both the seasoned Benson user and the casual observer will find it fascinating.”
“A Library for the Americas” was edited by Julianne Gilland and José Montelongo, and includes contributions from faculty, researchers and historians of Latin American from across the hemisphere. The book features analysis of the overall collections with special focus on collections of distinction like the Relaciones Geográficas, the Gloria Anzaldúa papers, the Ricardo and Harriet Romo print collection and the Borderlands archive, with accompanying full-color imagery.
The Libraries will host a preview and benefit dinner on September 6 in preparation for the upcoming centennial (2021) of the acquisition of the Genaro García Collection, which served as the foundation of the Benson Latin American Collection. Attendees to the event will receive a copy of the book with their tax-deductible contribution. For more information on attending the event, contact Natalie Hester at 512-495-4349 or email@example.com.
“A Library for the Americas” is available for purchase through the University of Texas Press at utpress.utexas.edu.
Alumnus and NASA astronaut Alan Bean recently passed away, but a piece of his legacy as a lunar visitor resides in the new McKinney Engineering Library.
A small flag that Bean carried with him on a trip to the moon hangs in the library today.
Bean donated the flag-that-went-to-the-moon that is framed and on display at the Engineering Library, with his signature and a small plaque noting Bean’s affiliation with the university. He received his B.S. in Aeronautical Engineering in 1955 and was named as a Distinguished Graduate of the College of Engineering in 1970.
Born in the Panhandle town of Wheeler (pop. 1,592) in 1933, Bean graduated from high school in Fort Worth and attended The University of Texas at Austin where he was in the Naval ROTC. He became a fighter pilot in the Navy, and later attended the U.S. Naval Test Pilot School where he was instructed by his future Apollo 12 commander Pete Conrad. Conrad personally selected Bean for the Apollo 12 mission to replace astronaut Clifton Williams, who was killed in an air crash.
Bean was the lunar module pilot for the Apollo 12 mission in November, 1969, which had some anxious moments shortly after launch when an electrical surge caused by a lightning strike created a telemetry problem for the vehicle. Bean was responsible for executing the command that circumvented the problem and prevented the mission from being aborted. Bean and the crew landed on the moon on November 19, and returned safely to Earth on November 24.
Emeritus Engineering Librarian Susan Ardis noticed at one point that that the original signature was faded, and colleagues in the College of Engineering (now Cockrell School of Engineering) contacted Bean, on Susan’s behalf, about a replacement. He graciously sent his signature in a few different sizes so that the best one — the best match for the artistic design of the framing — could be selected.
The flag remained with Engineering Library staff during the construction of the new Engineering Education and Research Center, and now hangs in the new Engineering Library.
Being that he has a refined sense of both words and music, Whit seems like a good candidate for exploring and discovering some overlooked gems in the trove, and so on occasion, he’ll be presenting some of his finds here on the blog.
Recently added (and highly-recommended) Music from the KUT Collection at the HMRC
IDM electronic musician Jónas Thor Guðmundsson hails from Iceland and creates blips and bleeps as Ruxpin. Less frenetic than Autechre, not as dark as Aphex Twin, Where Do We Float From Here shines with bright and melodic northern lights.
French avant garde composer’s challenging suite of seven pieces for two pianos. Marilyn Nonken (piano I) and Sarah Rothenberg (piano II) in a brilliant performance captured at Stude Hall, Shepherd School of Music, Rice University.
Following in that grand Southeastern tradition of rock duos (House of Freaks, Flat Duo Jets), Winston-Salem’s Jews and Catholics bring their amped-up indie pop to spike the punch at your summer backyard party. Audacious, nervy, overdriven. Produced by the legendary Mitch Easter of Let’s Active.
Muldrow takes a break from her breathtaking vocals and rhymes on Ocotea, as she deftly experiments with avant jazz swirled around inside chill electronica.
Harold Whit Williams is a Library Specialist in Music & Multimedia Resources Cataloging for Content Management. He also writes poetry, is guitarist for Cotton Mather, and records ambient electronic music under the solo name The French Riot.
Alicia Niwagaba, graduate research assistant at the Archive of the Indigenous Languages of Latin America (AILLA), was awarded the Graduate Student Excellence Award by the Texas Digital Library (TDL). She accepted the award during the Texas Conference on Digital Libraries on May 17. Niwagaba is a recent graduate of the Master of Science in Information Systems (MSIS) program at the UT School of Information.
During her time at AILLA, Niwagaba has worked on developing an open educational curriculum designed to teach language documentation researchers how to organize and arrange their materials and metadata to facilitate their ingestion into a digital language archive like AILLA. This work is supported by the National Science Foundation under grant BCS-1653380, Transforming Access and Archiving for Endangered Language Data through Exploratory Methodologies of Curation.
Niwagaba is a key member of the project team, which additionally consists of AILLA manager Susan Kung and AILLA language curator J. Ryan Sullivant. “Niwagaba contributes valuable insight gained from her training in libraries and digital archives to improve the quality of the curriculum content and to incorporate literature and viewpoints that would not have been considered otherwise,” says Kung. The curriculum she is helping to develop will be taught as a weeklong course at the Institute on Collaborative Language Research (CoLang) at the University of Florida, June 18-22, 2018. Thereafter, the curriculum will be available as an open-access educational resource on AILLA’s website.
During her time at AILLA, Niwagaba developed a series of educational video tutorials about language archiving. These are designed to supplement the written curriculum or to stand alone as individual, shareable resources. Some of these engaging videos have already been widely shared throughout the language documentation community. This includes two that are available on YouTube: Language Metadata in AILLA and Filenaming.
AILLA manager Kung is grateful for Niwagaba’s contribution to the archive’s work, calling her “a critical member of AILLA’s curriculum development team.” Kung adds that Niwagaba “brings unique insight and perspective to the work that AILLA does. In fact, her efforts on this project have improved the level and convenience of service that AILLA is able to provide to our important stakeholders, the language documenters who entrust their precious, irreplaceable language materials to this repository. We are delighted that Alicia Niwagaba has won this award.”