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Currently viewing the tag: "Meiyolet Mendez"
May 21, 2013, 2:00pm-3:30pm
Moderator: Meiyolet Méndez (University of Miami)
Rapporteur: Wendy Pedersen (University of New Mexico)
- Undergraduate Scholars: A Partnership to Promote Undergraduate Research using Primary Sources — Maria R. Estorino, University of Miami
- Bringing the Archive into the Classroom and the Student into the Archive – Dr. Michelle Maldonado, University of Miami
- Integrating Archival and New Media Work in the Undergraduate Classroom – Dr. Lillian Manzor, University of Miami
- Too much or too little? Special Collections and the Embedded Librarian Model – Meiyolet Méndez, University of Miami
María Estorino…presented “Undergraduate Scholars: A Partnership to Promote Undergraduate Research Using Primary Sources.” As Deputy Chair and Chief Operations Manager of UM Library’s Cuban Heritage Collection, she described CHC’s Undergraduate Scholars program administered by the Center for Latin American Studies, funded by a generous grant from the Goizueta Foundation. The focus of Undergraduate Research is defined as “research that makes an original intellectual or creative contribution to a discipline.” The expectation goes beyond doing research in the archives and all the way into knowledge creation – common for students in the sciences, but undergrads in the humanities rarely have the opportunity to do original research.
Awards are given in the form of stipends to faculty for either course revision or development of a new course. Funding is awarded for the course and then a stipend for the following semester is awarded for three student researchers selected from that class. Those student researchers then devise independent projects with their faculty mentors. Results have been wildly successful, as exemplified by Dr. Maldonado’s talk below. (María was appointed the Esperanza Bravo de Varona Chair of the Cuban Heritage Collection in June 2013. Congratulations!)
Dr. Michelle Maldonado, Associate Professor of Religious Studies…spoke on “Bringing the Archive into the Classroom and the Student into the Archive.” Receiving an Undergraduate Scholars award, Dr. Maldonado revised her Caribbean Religions course to focus on African Diaspora religions with particular emphasis on Cuba. She noted that, as a theologian, her own experience with primary sources was not extensive so this was professional opportunity for her as well. She brought her class into the CHC on 5 occasions, where they first received instruction on use of the Library website and then specifically on the CHC site. (Not only does she admit to having learned a few tricks herself, but Maldonado was surprised at most students’ demonstrated lack of research skills.)
Subsequently, they got three lectures from librarians addressing various aspects of the Collection, paralleling points in the course curriculum. Students were required to produce an essay after each session on what they learned in the Archives. This process integrated library visits into the course, as more than an “add-on” BI session. Working with the physicality of original documents gave the students a more immediate sense of the reality in their subjects. A number of students came back for not one or two, but several individual research sessions. Dr. Maldonado selected 3 students to mentor from this class in the following semester and 2 of them won awards in the Humanities category of UM’s Undergraduate Research, Creativity, & Innovation Forum.
Dr. Lillian Manzor, Associate Professor of Modern Languages and Literature
told us about “Integrating Archival and New Media Work in the Undergraduate Classroom”. Manzor has led scholars, librarians, archivists and digital resource specialists the past 5 years to collect and develop multimedia resources to create the Cuban Theater Digital Archive, a digital partnership project between the UM Libraries and College of Arts and Sciences. CTDA provides resources for teaching and learning in the performing arts, also training for students in archival processing & research, metadata creation, filming, digital editing, and electronic publishing. The work archives materials that exemplify Dr. Manzor’s conception of the “embodied practices that shape theatrical production” and integrates service learning into the curriculum.
Meiyolet Méndez…related her experience in “Too much or too little? Special Collections and the Embedded Librarian Model.” The question of one-shot instruction vs. embedded librarianship was tackled in an experiment working with two professors on two very different courses. Flexibility, broad collaboration and hybridity proved to be crucial elements for success; most sessions had to be tailored to the specific course.
In addition to Dr. Maldonado’s class mentioned above, Mei brought a history class into the CHC for 9 full class periods over the course of one semester. The undergraduates were offered meaningful guidance in how to find and appropriately use primary and secondary resources. A “show & tell” was prepared for each week’s lesson, often involving other library personnel brought in for their particular expertise. The libguide for this course was scrupulously updated after each session – and remains up. Students selected for Undergraduate Scholar stipends had 2 or 3 personal research consults over the course of the semester.
Alison Hicks (University of Colorado) asked Dr. Maldonado about selection of student scholars for stipend. In her case, 6 of the 35 fall semester students applied for the spring fellowship. Three were selected by the professor and two librarians. Two of them were able to use their registered independent study research as a senior thesis. Dr. Maldonado noted that whether or not the students later used the CHC archives, the overall quality of their research was much improved.
Kelsey Corlett-Rivera (University of Maryland) asked Dr Maldonado if all the students were seniors. They were a mixture of sophomores, juniors and seniors. The fellows selected were actually juniors.
Alison Hicks (University of Colorado) asked Dr. Manzor, María & Mei and the librarians about scaling – how they were able to give individual attention to that many students. “It’s hard, very time consuming,” was the definitive reply. Embedded librarianship being an iterative process, discussion and refinement follows every semester’s experience. The composition of the class is also a factor, in that a class of nine disinterested students are harder to teach than a class where six or eight out of twenty-two bring a different energy to the whole group. Testimony is Part of Assessment: the librarians obtain the final paper and conduct an exit interview with each student who has gone through this project, who is also required to submit a short summary of their experience. A profile of each Undergraduate Research Scholar is posted on the CHC website.
Monday, June 18, 2012, 1:30 – 3:00 p.m.
Moderator: Suzanne Schadl (University of New Mexico)
Rapporteur: John B. Wright (Brigham Young University)
Panelists: Sean Knowlton (Columbia University), The Role of Comic Books and Graphic Novels in the Civic Formation of Cuban Youth” | Meiyolet Méndez (University of Miami), “Cuban Cartoons for Children: Pop Culture and Education on Screen”| Beverly Karno (Howard Karno Books), Sarah G. Wenzel (University of Chicago) and Wendy Pederson (University of New Mexico), “Purchasing, Selling and Processing Comic Strips and Graphic Novels” | Claire-Lise Bénaud and Suzanne Schadl (University of New Mexico), “Exhibiting Comics: From the Reading Room to Special Collections”
Sean Knowlton discussed the historical context of Cuban comic books and gave an analysis of current comics called historietas. Cuban comic books have characters that promote a national identity and provided an arena to promote and/or lampoon political realities. They did not use super heroes. Knowlton discussed several Cuban comics: the physical quality of Elipidio Valdés, published by Editorial Pablo de la Torriente, is getting less and less, especially the paper quality. Yarí follows a young taino cubano living at time of Spanish conquest. He fights against a cruel man. The message is that Yarí is our brother. Yami follows the adventurs of a strong, independent woman of ideals who has strong values and works for the good of the community. Historical comics are also popular. These highlight heroes of Cuban history—José Martí, Fidel Castro—and promote solidarity with like-minded Latin American regimes in Venezuela and Bolivia—Martí and Bolívar (reminiscent of the relationship between Fidel and Hugo Chávez), Tupac Katari (links Quechua uprising with the efforts of Evo Morales). These historical comics have a sense of legitimacy because they include bibliographies. Graphic novels are somewhat limited in Cuba because of lack of supplies.
Meiyolet Méndez discussed how Cuban cartoons provide a forum for political discourse. They promote the values of the Cuban Revolution and serve as a vehicle to impart these values to Cuban children. In September of 1960, illiteracy was viewed as a chief concern of the new, revolutionary Cuban government. The Cuban National Literacy Campaign took place in 1960-61. Hundreds of thousands of literacy teachers worked out in the country side. The program was propagandistic. It covered the history and values of the Revolution, in addition to helping people learn to read. One benefit realized by the program was better understanding of the use of mass media. Meiyolet described the creation of several government agencies that had responsibility for the media, both TV and Radio, from 1959-1976. It was the policy that all programming on TV had to promote the ideals of the Revolution. Early cartoons were geared toward adults and highlighted nature. Some examples are El maná and Las manos. Later, cartoons were more geared toward children and essentially took the comics from the page and put them on the screen. Some examples are: Aventuras de Elipidio Valdés, Zunzún, El Capitán Plín, and Cecilia y Coti. Before 1976, the content of cartoons was very force-fed. After, the cartoons demonstrate a more subtle manipulation. The media obscures the messages.
Beverly Karno described realities associated with graphic novels and comic books: 1) Independent distributors. The artist/writer usually self-published the comic books. It is very difficult to find and acquire these materials and it involves making a connection with the artist/writer. These are usually not a commercial venture. Getting 1-2 issues is pretty common. A title with 6-7 issues would be very successful. It is hard as a book dealer because libraries start sending claim notices, but the book dealer doesn’t know where to find issue #3 or when it will be produced. 2) Non-traditional formats. Some graphic novels and comic books start as print editions, but then change to a different format (DVD is common) and need special software to read it. 3) Major challenges. Pricing of graphic novels and comic books is great, very affordable, but it is very labor intensive to acquire these for customers. The follow up is enormous!
Sarah G. Wenzel discussed acquisitions and collection development issues related to comic books. The librarian must define the scope of the collection: 1) single story or single author; 2) literary or artistic value; 3) Are you going backwards as well as forward? 4) What has been published? 5) What do you ask the vendor to do?
Wendy Pederson discussed cataloging and classification issues. She demonstrated the difficulty of finding a piece by a particular comic book artist on the Internet, OCLC, etc. If you log into the publisher website, you can find the title of the comic book fairly easy. She also discussed difficulties in knowing how to catalog a comic book. Does the illustrator get identified as the creator or would the creator be the writer of the text? If a comic is an adaptation of a book, does it get classified with the creator of the original story or with the author of the adaptation? AACR2 would place the adaptation with the author of the adaptation, but does the patron know this? For subject analysis, what do we do? It is common to use genre headings. Karno, Wenzel and Pederson also distributed an annotated bibliography and instruction guide for purchasing, selling, and processing comic strips and graphic novels.
Suzanne Schadl and Claire-Lise Bénaud discussed the innovative use of rotating exhibits to build a bridge between users interested in the books displayed in the exhibit themselves and materials housed in the University of New Mexico libraries Special Collections. In the fall of 2012, the rotating exhibit will be Mexican comics and caricatures. In the presentation, Schadl discussed the unique aspects of virtual, physical and boutique spaces in the Library and how they relate specifically to the Library’s Reading Room. Bénaud discussed the upcoming comic books and caricatures exhibit, giving us a look at some of the interesting aspects of this exhibit, including José Gadalupe Posada’s Don Chepito and the work of the Taller de Gráfica Popular which used its art to advance social causes.
Questions and Comments:
Pamela Graham (Columbia University): Is the way graphic novels get printed or published going to change? Will it be online or print? Wendy responded that if the goal is to produce printed object, then the art work and the physicality are important. Beverly Karno responded that the use of Twitter is important. So is Flickr. A large portion of graphic artists work is being put on Flickr.
Lisa Gardinier (University of Iowa): Web comics have exploded in the U.S. over the last 10 years. Sarah Wenzel indicated that much of the web comics cannot be downloaded by the Library. Consequently, that format is not very helpful for developing a collection that can be preserved by the Library.
Cecilia Sercan (Cornell University): Do you include the URL in the bibliographic record for online comics? Sarah Wenzel responded that online ephemera is being lost because we can’t do much to preserve it. We do have some URLs available. Suzanne Schadl indicated that unless the URL is stable, the patron would not be able to use it whether it is in the bibliographic record or not.
Paula Covington (Vanderbilt University): Paula commented that some literature cannot be digitized and put online because the publishing companies own the copyright of all or part of the work. She gave the example of Jane Austen’s books. The copyright for the illustrations included in these books is owned by Dell and consequently cannot be included in the digitized version. Also mentioned was comiXology.com which has Spanish language comics, but they are largely translations of American comics.
Panel 15, June 18, 2012, 3:30pm-5:00 pm
Moderator: Teresa Chapa (University of North Carolina, Chapel Hill)
Presenters: Denise Stuempfle (Indiana University); Sara Levinson (University of North Carolina, Chapel Hill); Teresa Chapa (University of North Carolina, Chapel Hill)
Rapporteur: Brenda Salem (University of Pittsburgh)
The presentations in this panel discussed collecting artist’s books from Latin America at an academic library from the perspective of librarians in acquisition, collection management, and cataloging. The moderator, Teresa Chapa, started out by introducing herself as well as the other two presenters.
The first presentation, titled, “Latin American Book Arts: Challenging Tradition and a Challenge to Collect” was given by Teresa Chapa, the librarian for Latin American, Iberian, and Latino/Latina studies at the University of North Carolina, Chapel Hill (UNC). Chapa started out by relating how she acquired her first (Ediciones) Vigía book as a new bibliographer in 2001. Each of the Vigía books is hand-made by artists in Matanzas, Cuba. The purpose of Chapa’s presentation was to inform others about the challenges of collecting Vigía books, which she was unaware of as an inexperienced bibliographer. She clarified that she would be using the general term “book arts” to describe books that come from Vigía and other books of an artistic nature because she does not have a background in art librarianship to confidently differentiate among the different kinds of artist’s books. Using that term also allows her to include the more inexpensively made “cartonera” books, as well as works of art, such as “Todos Los Mares Del Mundo” by Venezuelan artist Ricardo Benin, which cost $1,000. Throughout the presentation, she passed around several examples of book arts.
Chapa explained that book arts in Latin America are different from book arts in other countries in that Latin American book arts are more socially and politically engaged. As such, convention is disregarded, so alternative or everyday materials are used to create these books as opposed to the fine material used in conventional book arts. The structures of these books are also unconventional. She named a number of publishers throughout Latin America that specialize in book arts and described their different approaches to making books. She mentioned Eloisa Cartonera in Argentina, Ediciones Vigía in Cuba, Taller Leñateros in Mexico, and Ral Varoni in Argentina. Their unique and unconventional approaches to creating book arts create special challenges in the storage and preservation of these items in libraries.
Among the things she wishes she had considered before deciding to collect Latin American book arts were the high cost of the books, whether the books would be housed in the art library or rare book room, and whether the rare book curator or librarian would even accept the care of these books. In her case, the rare book librarian was hesitant to accept the books but was eventually won over. Still, whether or not care of these books will be accepted is something to consider when taking on such a collection. There are also the costs of housing, preserving, and cataloging the books to consider, which are significant. As an example, she talked the book titled “Altar Maya Portátil: Hechizos Mayas de Bolsillo” that consists of a miniature altar with candles, incense, figurines, and three small books. She described the creative solution to storing this collection of items devised by the preservation department. Other things to consider are how funding for the acquisition and care of these books can be justified; how these books fit into an academic curriculum; and how the collection can be promoted in order for it to be used. She went on to list possible reasons that would justify having a collection of book arts at an academic library as well as the challenges in acquiring these books. At the end of the presentation, Chapa talked about her experience in organizing an exhibit of UNC’s book arts and the activities related to the exhibit. The exhibit was named “Hecho A Mano: Book Arts of Latin America” and focused on the book arts of Cuba, Argentina, and Mexico. She stated that it was a lot of hard work, but it paid off because she now receives a lot of requests for the books. She also showed the searchable exhibit website as well as the Artist’s Books resource page in the UNC Libraries website.
The second presentation was titled, “Voices from the Margin: An Exploration of Themes in the “Libros Cartoneros” of the Indiana University Libraries Collection” and was given by Denise Stuempfle, a catalog librarian for Latin American, Iberian, and Latino Studies materials at Indiana University. In this presentation, Stuempfle discussed the subject treatment of “Libros Cartoneros” held at Indiana University (IU). She started her presentation by defining “Libros Cartoneros” as chapbooks manufactured by alternative publishing houses, known as “cartoneras.” The books have covers of corrugated cardboard that are hand-painted with unique designs. She then went over a brief history of the cartonera publishing houses and provided background information on the cartonero book collection at IU, which was started in 2004 and contains approximately 500 cartonero books. Stuempfle previously presented on this topic at the SALALM conference in Providence. In that presentation, she gave an overview of IU’s collection and described how they were being processed. The objectives for this particular presentation, however, were to explore the themes in the works that make up IU’s cartonera collection and to demonstrate the creation of subject access to these works using the Library of Congress’ special provisions for increased subject access to fiction.
Stuempfle talked about the practice of many academic libraries to not add subject headings when cataloging works of fiction, opting to have author and title as the main access points. The disadvantage to doing this, she asserted, is that works cannot be searched for by similar themes. Also, it is assumed that the searcher knows the exact titles and authors he or she is looking for. While this practice works for established authors, it makes cartonero books harder to find because their authors are not well known within mainstream publishing and do not have an established canon. An example of such an author is Washington Cucurto. Omitting subject headings when cataloging works of fiction, particularly cartonero books, is often a time-saving measure for catalogers dealing with a large backlog, but it puts the burden on the researcher when it comes to discovering these works. The Library of Congress has a provision for allowing the addition of subject headings when cataloging works of fiction, but these apply only to certain works, such as biographical and historical fiction, as well as animal stories. She then cited several academic articles that emphasize the importance of subject headings in works of fiction for improving discoverability. She also said that many users have expressed the same sentiment. In order to promote and improve access to the works in the cartonera collection, which the Special Collections Department already spent money in acquiring, it made sense, she concluded, to invest the time and money in providing subject access to them.
Since 2001, the Library of Congress has had special provisions for increased subject access to fiction. However, these provisions were made with public libraries in mind as a way for patrons to more easily search for recreational reading. With the exception of the New York City Public library, no public libraries have cartonero books, so cataloging and providing subject access to these books should fall upon the academic libraries, because many of them have cartonero books. Besides helping the recreational reader, subject access to fiction, she asserts, would also help save the time of the academic researcher, particularly those who might be conducting a literature research. Also, it is important to provide enhanced access to these works because the Library of Congress classification numbers for works of literature correspond to the author, not the subject matter of the work. Moreover, these provisions were aimed at English-language works, but it stands to reason that they can be applied to non-English works as well.
When it comes to providing subject access to the cartonero books at IU, certain subject headings and form subheadings are commonly used. For example, to indicate the country of publication, the subject heading “chapbooks” is used with the country of publication as a subheading. The works found in the cartonero books cover a large range of literary genres and themes. Stuempfle went on to list many of the titles held in their collection. She then made a subject analysis of three works of fiction found in the collection. The examples included La asesina de Lady Di by Alejandro Lopez, Barrio Miseria 221 by Daniel Hidalgo, and Trento by Leónidas Lamborghini. Subject headings were assigned according to the work’s individual characters, class of persons to which the primary character belongs, and settings in the story, all according to certain considerations such as the Library of Congress special provisions for subject access in works of fiction. Headings for topical access and genre headings were also assigned. In some cases, new subject headings are proposed through Subject Authority Cooperative Program (SACO).
Stuempfle ended her presentation by concluding that the thematically diverse libros cartoneros are a rich resource for literary researchers, particularly those in the field of Latin American Studies. As such, institutions with strong comparative literature, linguistics, and Latin American Studies programs should ensure that access to these works is enhanced so that scholars can benefit from them. Subject access to the humanities has been historically difficult but the problem is compounded when it comes to literature from Latin America. Stuemple considers creating enhanced access to cartonero books part of a larger effort to expand knowledge and use of Latin American and Caribbean literature.
The third presentation, titled “Creating Access to the Vigía Collection of Artists’ Books at the University of North Carolina at Chapel Hill” was given by Sara Levinson, a catalog librarian at UNC. In her presentation, Levinson talked of the challenges of the descriptive cataloging of UNC’s collection of Vigía artists’ books. Unlike regular books that are in roughly the same physical form in relation to each other, what sets artists’ books apart is what they look like. But to be cataloged, words can only be used to convey something that is mainly visual. The Vigía artists’ books at UNC are housed in the Rare Book Collection section of the library. They are not available in the open stacks and cannot be checked out, so the only way to access them physically is to go to the Rare Book Collection section of the library and request to see them individually. In order to give library patrons a good idea of what these books look like before they see them, Levinson tries to provide as much description as possible in order to “paint a picture” with words. She tries to imagine who would be searching for these books, what they would be searching for, and how they would search for it. She uses genre headings from the Rare Book and Manuscript controlled vocabulary, as these headings are familiar for those who work with rare book collections and those librarians who provide rare book-related reference help. She also uses headings from the Art and Architecture Thesaurus, as these books are considered art works and would be familiar to students and researchers of art, as well as to art librarians. However, these terms are not searchable in all of UNC’s catalogs, so when cataloging each item, Levinson uses long descriptive notes, which are keyword searchable. When possible, Library of Congress subject headings are also used. The materials and techniques used to create the book are often included in the description. Levinson read examples of the descriptive notes she writes in the records for these artists’ books.
Levinson ended her presentation by saying that she hoped that in providing a large number of potentially searchable words in her descriptions, patrons would be more easily able to find the records for these books. She also thanked the people who helped her in putting together her Powerpoint presentation, which included beautiful photographs of the artists’ books she described.
Questions & Comments:
Meiyolet Mendez (University of Miami) asked Levinson if she is the only cataloger who writes such detailed descriptions of artists’ books in bibliographic records and how long it takes to catalog such a book.
Levinson replied that bibliographic records for some of these books already exist, but she enhances those records by adding subject headings, genre terms, and searchable headings. The cataloging takes a while so she tries to spread the work out, but she wants to make them as complete as possible because she wants patrons to be able to find the records for these books. She ventures that in the future, when the Art and Architecture subject terms are searchable in all catalogs, such detailed descriptions won’t be necessary.
Stuempfle then asked Levinson if these record enhancements are done at the local level or if she applies them to OCLC records as well.
Levinson replied that it depends on whether she is doing original or copy cataloging. She contributes her original records to OCLC with all enhancements but if she makes any significant changes to existing OCLC records, she makes them only at the local level.
Wendy Pedersen (University of New Mexico) commented that at her institution, the catalogers have worked on artists’ books, adding detailed description as well. She then asked Stuempfle if IU’s cartonero books are special collections and what considerations are taken in shelf-listing them.
Stuempfle said that IU’s cartonero books are individually put in special preservation boxes and placed in the library’s storage. If patrons want to look at them, they can be requested and sent to the patron within half a day.
Martha Preddie (University of Trinidad and Tobago) asked Chapa what the print run for artists’ books usually are. Chapa replied that depending on the publisher, the print run might be as little as 20 to as many as 200.
Chapa added that she had not been able to bring any Vigía books to the conference because they cannot be checked out of the UNC library, but that she does have some books in her office to use as examples when she does presentations in classrooms.
Preddie then asked if the books are digitized and Chapa replied that they cannot be digitized as her institution does not hold the copyright for these books. Moreover, getting the permission to digitize the books has not been a priority for the library as they are busy digitizing other material. But for the artists’ books exhibit website, images of the featured books were digitized.
Stuempfle disclosed that she ended up with the responsibility for a box full of artists’ books that had not been cataloged when the previous art librarian had moved on to another position and that she is currently trying to figure out how to catalog them.
Sarah Leroy (University of Pittsburgh) asked whether the multiple copies of artists’ books are meant to be identical in spite of a small print run. Having them being identical, she added, would make it easier to use a bibliographic record for different copies.
Chapa replied that usually, copies in a print run are identical. Leroy said that it would be useless to write a detailed description of a cartonero book in an OCLC record since each cover in a relatively large print run of a cartonero book is different.
Stuemple and Chapa explained how the creation processes of cartonero books and artists’ books like the ones at Vigía differ from each other. Levinson added that artists’ books, unlike cartonero books, are numbered.
Luis A. González (Indiana University) asked Chapa if she had ever been challenged to justify the acquisition of artist books.
Chapa replied that putting together the exhibit on artists books helped to get support from the library director. The library’s new rare book curator is a bit resistant about accepting the care of the books, but the assistant art librarian, who is a book artist, has been very supportive and promotes the materials.
The panel concluded with the moderator thanking the rapporteur and the presenters.
Panel 8, May 31, 2011, 9:00 am-10:30 am
Moderator: Meiyolet Méndez, University of Miami
Presenters: Maria R. Estorino, University of Miami; Béatrice Colastin Skokan, University of Miami; Meiyolet Méndez, University of Miami
Rapporteur: Sarah Yoder Leroy, University of Pittsburgh
After Meiyolet Méndez welcomed everyone and introduced the speakers, Maria R. Estorino spoke about building the Cuban Heritage Collection (http://library.miami.edu/chc/) at the University of Miami Libraries. After giving some background on the history of the connection between Cuba and the University of Miami, and the interest in collecting Cuban materials by the University of Miami Libraries over the years, she described the official formation of the Cuban Heritage Collection in 1998, which brought together collections documenting Cuba, the exile experience, and the culture and literature of the Cuban diaspora, which had previously resided in different areas of the libraries. The Cuban Heritage Collection received a grant to build a space for the collections, and in 2003 the Roberto C. Goizueta Pavilion opened. The Cuban Heritage Collection serves the university, the larger academic community, and the general public, and focuses on four main areas: 1) collection development, 2) preservation and access, 3) teaching, learning and research, and 4) outreach. It brings together, preserves, and makes available primary and secondary materials in all formats, including digital resources. It works with faculty to support instruction at the university, and supports research by sponsoring undergraduate scholarships and graduate fellowship. In addition, it coordinates events and exhibitions which reach the general public. Some challenges for the future include ongoing assessment of the collections, building more faculty relationships, and working with a changing donor base, as new demographics and associated relationships emerge.
Béatrice Colastin Skokan followed with a presentation on documenting the Haitian diaspora at the University of Miami Libraries. Miami-Dade is a center of Haitian life in the U.S., where Haitians are the second largest non-English speaking group after Hispanics, and the second largest immigrant population after Cubans. They are a marginalized group, and Special Collections at the University of Miami has made efforts to collect primary source materials documenting the social and political life of this group. The current focus is on collecting papers and documents of local activist groups. It also sponsors public events and outreach, such as the special event entitled Documenting the Fringe, which included a reception and discussion on documenting counter-cultural activism. Special Collections holds the Max Rameau papers (1998-2010) which document his activism for the homeless and the poor within the South Florida communities of the African diaspora. Materials are often acquired through donations from community leaders, and developing relationships is a key component in making this possible. Collecting oral histories is another way they are filling content gaps and documenting intangible culture.
Meiyolet Méndez‘s presentation was entitled “Blueprint for a Collaborative Instruction Model: a Multi-Disciplinary Approach”, and she spoke of developing partnerships with librarians working in other departments of the library in order to enhance the work of both. For example, the Cuban Heritage Collection’s desire to increase the use of its archival and digital material, and the Education and Outreach’s aim to incorporate the use of primary documents in information literacy sessions lead to a natural collaboration. Working together, the two librarians could identify classes with a Latin American/Cuban component, and introduce the Cuban Heritage Collection’s digitized primary materials in an instruction session. The blueprint for collaboration is as follows: identify a department in the library you want to know about, contact the librarians there, meet and identify common goals or needs. Reach out according to your strengths and prior relationships. If you are interested in instruction, identify programs or classes where you might work collaboratively. Document your activities. There are also possibilities for non-instructional collaboration, such as events and exhibits, where volunteering and agreeing to do something new are ways to stay aware of activities in other departments.
Questions & Comments:
Peter Bushnell (University of Florida) asked if there was a charge for non-University of Miami users. Special Collections and the Cuban Heritage Collection are open to all.
Gayle Williams (Florida International University) mentioned that it was a shame Lesbia Varona wasn’t in attendance since she would have so much to add.
Marisol Ramos (University of Connecticut) mentioned that she appreciated the presentation because it is so hard to find materials about the Haitian diaspora, and she is excited to find someone doing this. She is trying to collect Haitian ephemera as well. She is also collaborating with archivists at her institution, and wants to promote more collaboration among librarians.
Gerada Holder (National Library and Information System, Trinidad and Tobago) wondered what the collection strengths were with regard to the Caribbean countries. Colastin Skokan indicated that the University of Miami’s strengths are Jamaican and Haitian materials and the Caribbean Documents collection, which includes slave registers from Trinidad and Tobago, significant rare books, and 19th century materials.
Diane Napert (Yale University) asked whether gifts come with restrictions. Estorino said they are working on a standard deed of gifts for personal papers and organizational papers.
Paul Smith (University of California, Los Angeles) asked whether there is an organization in New York creating an archive of Haitian materials, and whether there was any Haitian migration to Quebec. Colastin Skokan answered that the migration distribution is South Florida, New York, Boston, and Quebec. The University of Miami is starting in South Florida, but some oral histories have been conducted with artists in New York as well. The Schomburg Center may be collecting Haitian diaspora material, but she wasn’t sure.
Saturday, May 28, 2011 9:00 – 10:00am
Participaron 15 personas.
Se entregó un informe impreso de Lynn Shirey (de Harvard University) sobre el proyecto piloto sobre “Digitalization of U.S. Holdings of 19th Century Cuban Monographs.”
Eudora Loh (de UCLA) y Teresa Chapa (de University of North Carolina, Chapel Hill) hicieron un reporte sobre un viaje de adquisiciones realizado a Cuba en febrero/marzo de 2011 y entregaron un informe impreso “Cuba Contacts”, con nombres y direcciones de librerías, centros de estudio y editoriales de Cuba.
Mei Méndez (de University of Miami) informó sobre un importante trabajo que está realizando University of Miami sobre “Teatro Cubano.”
Se intercambiaron ideas y experiencias sobre los problemas de los envíos de libros desde Cuba al exterior.
Luis A. Retta
Nuevo e-mail : email@example.com
Saturday, May 28, 2011, 11:00 AM – 12:30pm
Attendees: Members: Laura D. Shedenhelm (University of Georgia); Paula Covington (Vanderbilt University); David Nolen (Mississippi State University) ; Richard Phillips, Peter S. Bushnell, Paul Losch ( University of Florida); Adan Benavides, David Block (University of Texas at Austin); Gayle Williams (Florida International University); Hortensia Calvo ( Tulane University); Sarah Buck Kachaluba (Florida State University); Meiyolet Méndez (University of Miami); Holly Ackerman (Duke University); Teresa Chapa (University of North Carolina at Chapel Hill) Non-members: Tomás Bocanegra (Colegio de México); Gerada Holder (NALIS); Sofía Becerra-Licha (University of North Carolina at Chapel Hill); Margarita Vannini (IHNCA, Universidad Centroamericana)
Teresa Chapa (University of North Carolina, Chapel Hill), the LASER Convener, opened the meeting by remarking on the gratifyingly large number of attendees. Introductions followed. A list was circulated for attendance and for those who want their names added to the LASER listserv.
Holly Ackerman moved that minutes of the last meeting be accepted. Laura Shedenhelm seconded and minutes were unanimously approved.
Teresa reminded the group that institutional updates will not be reviewed at the LASER meetings but will be sent out on the listserv.
Teresa announced that this was the 25th anniversary of ENLACE and encouraged our participation.
Teresa reviewed the themes from out last meeting – collaboration and cooperation in collection development. How to achieve greater coordination is the key. David Block summarized our efforts to date. In New Orleans we agreed to share information on whether we would purchase offers sent from one vendor for Andean publications. David pointed out that we do not need 12-20 copies of a work. Following the meeting in New Orleans, David sent out offers for collective consideration and we initially were indicating the intention to buy an item. It seemed that we were not reducing the number of institutions acquiring titles. As the experiment progressed we felt comfortable indicating that we would not buy an item. Gayle Williams asserted that it was still too early to judge the success of this experiment.
Richard Phillips questioned what the relationship of this experiment was to the Farmington Plan wherein universities had committed themselves to collecting along lines of faculty and institutional strength. Richard added that under the Farmington Plan, Florida has been committed to collecting on the Caribbean for so long that it would make no sense for them to alter that pattern or to reduce the amount they buy. Teresa pointed out that, in contrast to the Farmington commitments, our current efforts are regional rather than national and that they are informal. She reminded the group that we had also discussed dividing up deep collecting by choosing to collect comprehensively on selected Mexican states. Mai Mendez suggested that we also do this by publisher and/or state in Argentina. She offered to draw up a list of publishers derived from the approval plan from her university and to circulate it to LASER members.
David felt we needed more specificity as far as what our specialties include. Phil MacLeod suggested that we define a core and then divide up the more detailed subjects. Adan Benavides pointed out that some vendors’ catalogs, for example those from Books from Mexico, show which institutions have received a book on approval thus allowing us to see the extent to which a book is held in our region. Paula Covington thought that we need to focus on lists earlier in the selection process. David recommended that we organize around some benchmarks such as assuring that one institution has the national gazette and a major newspaper for each country. The need for coordination among SALALM’s regional groups was also discussed and Teresa Chapa agreed to talk with the conveners of the other regional groups to let them know what we are doing and to see what collaborative efforts they may have in place.
David suggested we select a country for which no LASER library has collecting responsibility and try a cooperative experiment to avoid overlap and to increase uniqueness. The possibility of a Central American country was discussed. Phil and Laura described the cooperative efforts they have in place with Emory buying in the social sciences and Georgia selecting in the Humanities. They compare invoices and identify duplication and core authors and subjects and are now coordinating their plans through Vientos Tropicales.
Laura agreed to coordinate an experiment on Paraguayan imprints. Participating institutions are Duke, Emory, Texas, U. Georgia, U. Miami, UNC. Laura will contact the group regarding next steps.
Paula reminded us that the LASER website is now at Vanderbilt and that she would like to receive suggestions on features to be added to the site. She demonstrated a website constructed in Omni software. She would like to convert the LASER page to an Omni format but does not want to do so unless other LASER institutions have OMNI so that the site can move to another institution with minimal difficulty. Members will check with their institution and report back to Paula. Suggestions for website additions included: a listing of digital libraries; a chart showing institutional collection strengths; acquisitions news; lists of OP vendors by country; and a LASER blog. Paula requested that members send updates to their microfilm union list this summer.
The meeting adjourned at 12:30.
Teresa Chapa, Convener
University of North Carolina, Chapel Hill
Tagged with: Affiliated Group Report/Minutes • Chapel Hill • David Block • Duke University • Emory University • LASER Minutes • Meiyolet Mendez • Paula Covington • Philip S. MacLeod • Richard Phillips • SALALM56 • Teresa Chapa • University of Georgia • University of Miami • University of North Carolina • University of Texas
TagsAdán Griego Alison Hicks Anne Barnhart archives art audiovisual cataloging Committee Report David Block digitization documentaries Ellen Jaramillo Executive Board Meeting Minutes Fernando Acosta-Rodríguez Fernando Genovart Finance Committee Report Human Rights Interlibrary Cooperation Committee Report John Wright keynote Lisa Gardinier Lluis Claret Lynn Shirey Marisol Ramos Meiyolet Mendez Melissa Gasparotto Melissa Guy Mexico Paloma Celis Carbajal Paula Covington Peter Johnson rapporteur reports Richard Phillips Roberto C. Delgadillo SALALM56 SALALM57 SALALM 58 SALALM58 SALALM59 SALALM60 SALALM61 Sarah Buck Kachaluba Sarah Yoder Leroy Suzanne M. Schadl Teresa Chapa