Author: Sara Ramirez

I am a graduate student in the Public History program at St. Mary's University and alumni of the Alexander Briseno Leadership Development Program. I work as a Library Assistant at the San Antonio Public Library, where I teach a STEAM program for kids. I am interested in bridging my Science background with the humanities by exploring Environmental History and Science Communication.
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Public Art & History

In May of this year I was selected to be a member of the 2018 class of the Alexander Briseño Leadership Development Program (ABLDP), a program designed to mold participants into trans-formative leaders. All class members were sorted into action teams, the goal of which is to solve a problem pertinent to that field or industry. The action teams would deliberate and propose solutions at the last meeting of the program where industry leaders would be listening to the presentations. If the panelists like the pitch, the proposed idea has a chance of coming to fruition. My action team was Arts and Culture and I was paired with eight other classmates from companies and organizations all throughout San Antonio. We brainstormed as a team to think about what positive contribution we could make to the Arts and Culture community in San Antonio. What was missing? Or what existed but could be made better?

San Antonio has many great pieces of public art all throughout the city. There are murals, sculptures, galleries, and artists of all trades in almost every pocket of the city. The issue is that these art pieces are not widely known or visited. It may be an issue of accessibility or even relevance, but the fact is that we are a city lacking in art awareness and engagement. Our solutions to this problem involved a series of proposed projects. How to combat the issue of accessibility? Bring art to the people! We proposed a mobile art initiative beginning with an art installation on a river barge called ‘Studio Rio’ that traveled the San Antonio River. In the next phase of the project , art exhibits would be added to buses, then kayaks, then maybe even scooters. Art would be on the move and accessible to every resident in San Antonio because it would be in their backyards.  Through project revisions our proposal eventually changed and evolved into something bigger. Ultimately we decided to create an arts consortium to advocate for the arts in San Antonio. Although there are no shortage of art organizations in San Antonio, all are limited in their marketing capabilities by societal and economic constraints. The art river barge is an important component of this project and will serve as an activation point for learning about the arts in San Antonio through the use of a QR code. If this project comes to fruition we would be partnering with the San Antonio Department of Arts and Culture and Go Rio to promote accessible, mobile, and approachable public art access in San Antonio.

So, how does any of this relate to public history? During my time with ABLDP and working towards this goal of making public art more widely known and accessible, it dawned on me that we, as public historians are the consortium working to bring hidden histories to life, just as the advocacy group will be working towards the goal of making public art more accessible. Art and culture provide a sense of personal identity and breath vitality into communities. I guess this post serves as a thank you to all the artists and historians out there for doing what you do. Thank you for your passion, dedication,  and life enrichment. It is necessary and very much appreciated.

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My Mission Statement

It is nearly the end of my first semester as a Public History graduate student. As I reflect on all the things I’ve learned and think about where I most want to make an impact, diversity and inclusion are at the forefront of my mind. Throughout my professional career I’ve gravitated to informal education which has given me the opportunity to explore different non-profit organizations in Austin and San Antonio. I am passionate about working with the under-served community, partly because of my own experiences growing up in the barrio. I come from a family of migrant workers, many of which did not receive a formal education. As an adult, I’ve worked at many places that my parents couldn’t afford to take me when I was a child such as the San Antonio Zoo and the Children’s Museum of San Antonio. Social and economic inequality tend to breed cultural inequality, leading to an unfortunate systematic imbalance.

According to the 2016 National Awareness, Attitude, and Usage Study many museums and other institutions are not sufficiently diverse.  Audience diversification is an area that museums need to grow and improve.

Data provided by the National Awareness, Attitude, and Usage Study

The National Art Education Association (NAEA) Museum Education Division and the Association of Art Museum Directors conducted a study on the impact of art museum programs on K-12 students. The study concluded that there are a variety of educational benefits that can be gleaned from visits to museums including questioning, developing multiple interpretations, and engaging the senses. I think this can be applied to a multitude of experiences in other educational institutions. For instance, one can watch a myriad of nature documentaries but nothing really compares to being face to face with a giraffe, playing tug of war with a lion, or being immersed in a tropical habitat with butterflies flying all around you. All of these are experiences that you can have at the San Antonio Zoo but at $18.99 per adult and $15.99 per child for general admission plus extra for interactive exhibits, these are experiences that not everyone will be able to afford.

If you would like to one day work in the museum field, on the job experience is essential. There are many unpaid internships that offer valuable experience in the museum industry. However, if you lack the financial means these opportunities are way too costly to take advantage of. A full time internship is essentially a job without the pay. If the internship is out of town, relocation and living expenses must also be taken into account. The Association of Art Museum Directors (AAMD) is launching a program to diversify the museum landscape by offering paid internships for minority undergraduate students at ten art museums across the country. The project aims to “proactively address the demographic disparity in our industry by recognizing that access to funds is sometimes the biggest hurdle for many people”, according to Madeleine Grynsztejn, the president of AAMD. The program was developed after a 2015 study by the Andrew W. Mellon Foundation and the American Alliance of Museums revealed that “minorities made up 28% of staff in US museums, but non-Hispanic white staff members held 84% of the more prestigious positions like curators, conservators and educators”. The program offers students a 12-week placement with a stipend of $6,300. The students will work alongside mentors and help with educational programs and exhibition projects.

Diversity is also taking different forms outside of traditional venues. People want their stories to be told and they are creating a medium specifically for that purpose. Zines are self-published original works, usually reproduced via photocopier for circulation. Launched from a copy machine in San Antonio, Texas, St. Sucia “tackles Latina feminism on a spectrum far and wide, the inclusive zine showcases a kaleidoscope of experiences, beyond borders and the binary, giving a voice to the underrepresented”. The inclusive zine is now included in university syllabuses for Gender Studies and Chicano Studies at universities across the nation. St. Sucia is made up of Isabelle Ann Castro and Natasha Hernandez, and includes submissions from all over. Natasha emphasizes the importance of giving a voice to Latinx mujeres: “It’s super important to just see yourself represented in the community, to see things are possible. All these things are important for us to feel validated, like we can dream to be all these things”.

This is my chosen profession and I want to work towards this goal of increasing diversity and inclusiveness in museums. Museums should be sites of empowerment, where audiences of all racial and ethnic backgrounds can see themselves reflected. Children’s author Xelena Gonzalez encapsulated this sentiment:

“Every child should see their own reality reflected in stories, their own skin celebrated. For to love oneself is to love the world in a better way, and to understand one another expands the gift beyond our sphere“.

To accomplish this feat, there needs to be reform at all levels to provide sufficient representation in audience and staff at museums and other institutions. I strive to transform the museum from an ivory tower into an institution of everyday life for all.

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Butterflies without Borders

Environmental history is “the study of interactions between culture and nature.” So let’s discuss the history of Monarch butterflies (Danaus plexippus) and how human populations have influenced this species over time. Monarch butterflies are bright orange with distinctive black and white markings. These butterflies lay their eggs on milkweed plants, which serve as the only food source for the growing caterpillars. Milkweed contains glycoside toxins that are harmless to the Monarchs but poisonous to predators, a very useful defense mechanism. Once the caterpillar goes through several developmental stages or instars, it forms a chysalis and eventually emerges as a butterfly.

North American Monarch butterflies are best known for their 3,000 mile long migratory journey, the mechanisms of which still baffle scientists to this day. Their migration, which spans several generations, takes them as far north as Canada and, during the winter months, as far south as Mexico City. In early Spring, Monarchs can be spotted in Texas and as the summer season rolls around, they migrate throughout the northern states up into Canada. Monarchs spend their winters in Mexico to avoid the freezing temperatures in the northern states. Most monarch butterflies only live for a few weeks. The last generation of each year is the over-wintering generation, which can live upwards of eight months in Mexico. Unfortunately, Monarch butterfly populations have declined by a staggering 90% in the last 20 years.

Recently, the Texas Butterfly Ranch hosted the third annual Monarch Butterfly and Pollinator Festival from October 19 through October 21, 2018. The festival launched with an informative forum on the future of Monarch butterflies. The forum, titled “Butterflies without Borders: The Monarch Butterfly Migration and our Changing Climate,” discussed the ambiguous future of the Monarch Butterfly. The issues discussed included: the influence of GMOs and pesticides on migration patterns, availability of nectar and host plants, climate change, and the controversial border wall proposed by the Trump administration. The panel consisted of the following experts:

In July 2017, a crew of workers contracted by U.S. Customs and Border Protection illegally chopped down hundreds of trees, shrubs and other vegetation on private property belonging to The National Butterfly Center in Mission, Texas. The land “serves as a habitat for more than 400 endemic and migratory species, including monarch butterflies.” Marianna Treviño Wright, the Executive Director of  The National Butterfly Center, describes the proposed border wall as a”waste of taxpayer dollars and an environmental disaster”. The National Butterfly Center has 11  distinct ecosystems and is home to a variety of Texas wildlife. The proposed border wall would be devastating for this wildlife, eradicating native habitats and host plants for butterflies, as well as isolating populations from each other. In addition, not all birds and butterflies will be able to fly over the 30 ft. vertical wall, cutting off migratory routes. The border wall would adversely impact “841 vertebrate species, 42 species of amphibians, 160 reptiles, 452 bird species, 187 mammals, and plant, fish, and invertebrates totaling 10,000 or more,” with many of these species likely facing extinction.

Future

Fortunately, there are many things you can do to ensure a future for Monarchs and other pollinators:

  1. Create a healthy habitat garden for Monarch butterflies. For resources, click here. The Texas Butterfly Ranch is commemorating the Tricentennial with a pledge to build 300 pollinator habitats — 300for300.
  2. Get involved in programs around your city. Through the National Wildlife Federation’s Mayors’ Monarch Pledge, U.S. cities, municipalities, and other communities can complete action items aimed at enabling Monarch species survival and re-population. These action items include creating habitats for the monarch butterfly and pollinators, educating citizens about how they can make a difference at home and in their community. San Antonio is actually one of only three Monarch Champion Cities throughout Canada, Mexico, and the United Sates that has committed to every action item on the list. 
  3. Get out there and vote! If you believe that climate change is a pressing issue and want to ensure that Monarchs and other pollinators are made a priority, you must be politically active.

Habitat loss, overuse of pesticides, pollution, and looming border walls are abhorrent for many reasons but are also threats to the survival of pollinators and many other species. But you can make a difference, get out there and let your voice be heard.

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Evolution of Frankenstein’s Monster

In honor of Halloween, I decided to write about the history of a Halloween icon — Frankenstein’s monster. Most everyone is familiar with Frankenstein, as he is featured heavily in pop culture and media nowadays, especially during this time of the year. But where did this creepy creature come from? Frankenstein’s Monster has undergone a considerable change from its inception to the contemporary figure. Let’s take a look at how the Monster evolved to the Frankenstein we know and love today.

Frankenstein the Novel

In 1818, English author Mary Shelley published the novel “Frankenstein” about a mad scientist named Victor Frankenstein who creates the Monster in a terrible science experiment with the goal of “bestowing animation upon lifeless matter.” This has led to people mistakenly referring to the Monster as Frankenstein, when that name actually belongs to the creator. The novel came about from a parlor game in which Mary, her future husband/poet Percy Bysshe Shelly, and poet Lord Byron competed to see who could write the best horror story. The idea for Frankenstein came to Mary Shelley in a nightmare and a few years later, Frankenstein was born. It is theorized that Shelley drew inspiration from Frankenstein’s Castle, located in southern Hesse, Germany, as Shelley was traveling through the region before she wrote her novel. And the rest is history, Frankenstein was a spectacular success and spawned an entire genre of horror stories, films, and plays. The novel has also made its way into high school English classrooms all over the world, which is where I first encountered it. Compared to contemporary adaptations, the original version of the Monster is quite eloquent. Speaking to his creator, Victor Frankenstein, the Monster says “I ought to be thy Adam, but I am rather the fallen angel”.

Mary Shelley’s Frankenstein | Illustration from the frontispiece of the 1831 edition

 Frankenstein the Movie Star

Frankenstein made its cinematic debut in 1931 with Boris Karloff starring as the Monster. There have been scores of film and television adaptations on Frankenstein since then. In 1935, Karloff reprised his signature role in “The Bride of Frankenstein”, incorporating a love interest into the story for the tragic Creature. In 1974, “Young Frankenstein“, starring Peter Boyle, Gene Wilder, and Mel Brooks hit the silver screen in a hilarious spoof of the original Gothic tale. In 2012, Tim Burton’s “Frankenweenie” had an adorable take on the classic story. In this version, Victor Frankenstein is a young boy who conducts an experiment to revive his beloved Sparky, a Bull Terrier who was struck by a car and killed.

Frankenstein as portrayed by Boris Karloff in 1931
The Bride of Frankenstein
Frankenweenie

Frankenstein the Cereal?

Beyond film and television adaptions, Frankenstein’s Monster has made its way into pop culture and consumerism. Frankenstein’s image is plastered on all kinds of products from clothing to cereal. That’s right, everyone’s favorite re-animated corpse is a cereal mascot. General Mills produces a line of monster breakfast cereals seasonally including Count Chocula, Boo Berry and Franken Berry. Franken Berry is a strawberry flavored frosted cereal with marshmallows which was introduced in 1971. Every autumn you can snag these monster cereals at your local grocery store for a limited time release.

Franken Berry monster cereal

As you can see, Frankenstein’s Monster has made its way into many different avenues since its original inception in 1818. All of these varied adaptations are different ways to interpret the classic product. Mary Shelley is known as the “mother of the horror genre” for inspiring so many people around the world. One reason that Frankenstein has retained its popularity is because it explores themes that are still relevant today. “Frankenstein reflects the deeply felt concerns of an age conflicted over religion and science. The novel explores the boundary between life and death, and the potential dangers human arrogance might arouse when trying to play God.”

What is your favorite interpretation of Frankenstein’s monster? Please share in the comments!

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Libraries: Repositories of Knowledge

My love of libraries began while attending the University of Texas at Austin, where I worked as a student aide at the Perry Castañeda Library, the main library on campus. For the past two years, I have worked full time as a Library Assistant at the Schaefer library, the newest public library branch in San Antonio, TX . Through these experiences, I’ve accrued a fair amount of library knowledge under my belt, having worked at an academic library and now a public library. However, since starting the Master’s in Public History program at St. Mary’s University, my perception of a library has changed. I had never really thought of a library as a type of museum before now. This semester, we have read a multitude of articles, books, and blogs and had many lively class discussions which has opened my eyes to the many similarities between museums and libraries. In this blog post I will identify some of these similarities:

The Collection

Arguably the most important aspects of a museum are the contents that fill the space. A traditional museum may contain historical artifacts, paintings, sculptures, mummies, dinosaur bones, and the list goes on and on. Science centers and children’s museums may not even have collections, but instead they may have rotating exhibitions or hands on activity stations. A common theme is that all institutions offer a rewarding experience for visitors. Similarly, libraries are repositories of knowledge, housing an assortment of books on all imaginable subjects; patrons can gain numerous skills by simply selecting the right book — car engine repair, GED study guide, cookbooks for diabetics, etc. In addition, libraries help bridge the digital divide by offering computer classes for beginners, coding workshops, and most notably, free and unlimited access to the internet. There are even online certification courses you can take to learn a myriad of skills ranging from conflict resolution to cake decorating, all free with a library card. The collections of both libraries and museums serve as community catalysts for positive change.

 Collection Maintenance

In Library land, the process of acquiring items for the collection is similar to museums. All items must go through processing and assigned a barcode, as well as entered into an integrated library system, which is basically a digital platform to keep track of collections and patron accounts. The process of removing items from the collection in libraries is known as weeding. This process does not seem to carry the stigma that deaccessioning does for museums. Weeding items in libraries is a necessary part of maintaining the integrity of the collections. Working in a public library means serving the entire public, which often means a significantly shortened life span for the items in the collection. Just as we are continually repairing or weeding items, new items are also continually arriving. And so the cycle of life for the library collection continues.

Public Programs

My favorite aspect of working for the San Antonio Public Library is the wide variety of public programs I am able to plan, facilitate, or simply take part in. Public engagement through programming is a hugely important and vital service offered by libraries. Just like with museums, public programs are new ways to engage your public at all levels. Libraries offer weekly story times, teen programs, cooking classes, informational health workshops, and so much more. There are special events such as “Human Libraries” composed of people with varying life experiences where essentially patrons are able to “checkout” a human library book and have a conversation with an interesting stranger to learn more about their life. Libraries also work to extend their services through community outreach. The LA County library has a fleet of mobile makerspaces called MākMō, which are used to provide hands-on STEM education to all areas of the community.

Future of Libraries

And just as the future of museums is an uncertain one, with the need to evolve to a more visitor-centric approach, the future of libraries is constantly being debated. Not too long ago, I was asked by a woman if libraries still contain books, her assumption being that everything has been moved to a digital platform. The answer is yes we still have books, in case anyone is wondering. These types of questions are not uncommon as is the sentiment that libraries are a thing of the past. I believe that libraries are evolving, some quicker than others. A trend for relevant innovation is underway in the library community, as evidenced by many libraries worldwide. Collections are growing, adding more to their repertoire than the traditional books and movies. The Sacramento Public Library has tools and musical instruments available for checkout in the “Library of Things“. The architecture of libraries is also becoming more modern and aesthetically pleasing rather than the boxy look you see in a lot of older buildings, such as the new Austin Central Library, a model of stylish sustainability. The library I currently work at has an enormous public art piece for viewing as well as a record collection available for checkout.

Austin Public Library | Photo Credit: Lake Flato
“Past, Present, and Future” by Cakky Brawley | Artwork located at Schaefer Branch Library

I think the most promising change is the evolution to be more inclusive for all communities. Both libraries and museums are “unique in that they teach communities about the past and present, they provide resources for struggling families, refugees, and the LGBTQ community, and they preserve history“. Libraries and museums are community resources and are uniquely situated to tackle difficult social justice issues. These institutions are not extinct, but are instead in their next phase of evolution to become living cultural centers.

 

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Historia Para Todos!

In honor of Hispanic Heritage month (9/15-10/15), I created a book display at my library to honor and celebrate a sampling of the many iconic Hispanic figures, ranging from artists like Frida Kahlo to activists like Emma Tenayuca and Cesar Chavez. In particular I wanted to highlight the Lil’ Libros book collection, which is a series of bilingual board books, each starring a different Latin American historical figure. These colorful picture books teach fundamental concepts such as numbers, colors, and shapes, translating the text in both English and Spanish. Board books are meant for babies and toddlers so that a love of learning can be instilled at the earliest age. My heart soared when I discovered this little book series because it was a wonderful representation of mi cultura y tradiciones.

Lil’ Libros book series for children
Hispanic Heritage Book Display at Schaefer Library

The Lil’ Libro series was created by Patty Rodriguez and Arianna Stein, two pioneering Latinas who were tired of not seeing themselves represented in the books they read to their babies. The series was created with the goal of “starting the bilingual learning journey with subjects that parents feel a connection with.” The resulting book series includes subjects such as La Llorona, the weeping woman known throughout Mexican folklore,  Cantinflas, an iconic Mexican comedic film actor, and 12 other Latin American figures.

In my personal journey I’ve come to realize just how important it is for individuals to feel they have a representation of themselves, their culture and their heritage in their everyday lives. I recently attended the Joint Conference of Librarians of Color in Albuquerque, New Mexico. I was fortunate to meet an extremely diverse group of library professionals from all over the country. One workshop I attended was called “Beyond the Racial Stalemate.” During this workshop, the participants and facilitators sat in a racial healing circle. I listened as these men and women relayed stories of oppression and racial injustice they had experienced throughout their lives and professional career. It was deeply saddening but also empowering to hear how they had overcome those injustices and continue to fight prejudice in their everyday lives. A recurring theme that I came across throughout the conference was the question of why Hispanics and other minority groups do not visit libraries. The answer is that they do not see a representation of themselves within their local library. This lack of representation can take many forms — there are no Spanish speakers to make them feel more comfortable in their native tongue, the collections do not represent their needs and interests, or simply because there are no staff members or patrons who look like them. I grew up in San Antonio, surrounded by my large, loving Mexican American family and in many ways, I inhabited a protective bubble. It was not until I attended the University of Texas at Austin that I truly felt like a minority. I lacked representation of my race and culture and it was an uncomfortable feeling. I personally knew a handful of Hispanic students who left school because they missed home and the comfort it offered. Thankfully I was able to persevere and graduate, but I’ve been in those shoes and I want to help others not to feel this way.

Libraries can become more welcoming spaces for latinx by hiring a diverse workforce and Spanish speakers. Libraries can also build up their bilingual collections and forge connections with latinx community leaders and gatekeepers. The Los Angeles County Public Library has gone one step further and created the iCount Initiative in an effort to remove barriers to equity for all communities. Library Equity Action Plans (LEAPs) are targeted to specific communities, such as latinx families or LGBTQ teens. Action plans include targeted training about how best to serve these communities and allocating resources to improve the overall  library experience of the target groups.

As public historians, we have an obligation to empower cultural groups to tell their own stories. I believe we can achieve this by promoting active engagement in the past. This is one of the many reasons I love the Lil’ Libros book series. Patty Rodriguez and Arianna Stein incorporate Latin American culture into children’s books and in doing so help to make libraries a more welcoming space for Hispanic families by giving them representation. Because we all deserve to feel like our stories are worth being told. Historia para todos!

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Arte y Corazón

Last week I had the opportunity to once again visit the Rinconcito de Esperanza to support the MujerArtes Women’s Clay Cooperative. To celebrate their one year anniversary in the the new earth block studio, the Esperanza Center hosted a celebration and week-long art sale.

Various art pieces for sale at the MujerArtes Casita

The mujeres who make up this cooperative use clay as a medium to illustrate historical snapshots of their lives. Each piece is intricately crafted, reflecting the artists’ cultural identity within her work. Since 1995, this program has welcomed a very diverse group of women to produce their art. These women commit to a certain number of studio hours per week, where they create artwork to sell to the community through various outreach programs. Although you wouldn’t be able to tell by looking at the artwork, most of these women are art novices, learning their craft alongside one another with the aid of an instructor and studio coordinator. Together, these women form a community, empowering each other through their shared passion of arte y cultura.

Calavera crafted from clay

My fiancé and I scanned the rows of clay artwork, searching for our perfect match. I like to collect tiles so I selected a Selena tile for myself and picked out an ornamental la Virgen de Guadalupe, or Virgin Mary,  for my grandma. My grandma was a migrant worker, as was my grandfather and their seven children. They traveled throughout the year, staying where the work was. I love to hear her stories about the past. My life is so vastly different from that of my grandma but through her stories about her life as a young girl, a mother, a migrant worker, and everything in between, I feel deeply connected to her. I went to visit my grandma later that day to give her la Virgen de Guadalupe I purchased for her at the art sale. She absolutely loved the gift and told me about the significance of the flowers that adorned the feet of la Virgen, the patron saint of Mexico.

Various la Virgen de Guadalupe artistic renderings at MujerArtes Casita

The flowers are symbolic, each kind specifying a virtue that the Virgin Mary exemplifies. These flowers include “the rose (Rosa canina), which was adopted as the emblem of Mary’s love of God; the white lily (Lilium candidum, Madonna lily), her purity; the myrtle (Myrtus communis), her virginity; and the marigold (Calendula officinalis), her heavenly glory.”

As an aspiring Public Historian, I am inspired by the MujerArtes. It is wonderful to see their culture embraced and celebrated through transformative works of art. By creating a tangible piece of their past, they are helping to preserve it and spurring a continual conversation. By gifting the Virgin Mary shrine to my grandma, I was able to hear a story from her and learn something new. I am thankful to the Women’s Clay Cooperative for giving me a gift that opened up this conversation. I hope to capture the spirit of the MujerArtes in my professional career.

To learn more about these amazing and talented artists, take a look at their profiles here: MujerArtes Artists

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Emma Tenayuca-“La Pasionaria”

In lieu of our normal Intro to Public History class, we visited the Rinconcito de Esperanza, which translates to Little Corner of Hope. The Rinconsito de Esperanza is a cultural hub dedicated to documenting the history of Westside San Antonio.

On this trip I learned about a prominent Mexican American historical figure, Emma  Tenayuca. Emma was born on December 21, 1916, in the Westside of San Antonio, Texas. Emma had ten siblings and lived with her grandparents. Throughout her life, Emma witnessed the poverty and misery that plagued the Mexican American people in her community. This empathy for others and drive for equality strengthened Emma into a courageous and passionate young woman, later earning her the nickname “La Pasionaria”. At a very early age, Tenayuca joined in the Labor Movement to combat social injustices. At the age of 16, Emma joined a picket line against the Finck Cigar Company, where she was arrested for her involvement.  

Emma Tenayuca, American Labor Leader | Photo Courtesy of The San Antonio Light Collection, The Institute of Texan Cultures at UTSA
Pecan-Shellers’ Strike 

In 1938 at only 21 years old, a courageous Emma lead the historic Pecan Shellers’ Strike.  The wages for pecan shellers had dropped to a measly three cents an hour. Owners were getting richer and richer, while only working one or two hours a day. Meanwhile, the pecan shellers, mostly made up of Mexican American women, worked from dawn until dusk and still did not earn enough to feed their families. Workers faced deplorable wages and unsafe working conditions. The inadequate ventilation and fine dust from the pecans contributed to a higher tuberculosis rate in San Antonio. Emblazoned by the sheer injustice, Emma mobilized 10,000 pecan shellers to go on a strike of 400 factories for nearly two months. With nearly empty factories, the owners lost a lot of money for the duration of the strike. Throughout this time, Emma was threatened and thrown in jail repeatedly but persevered. Ultimately, the owners were forced to raise the worker’s pay. Unfortunately, the factories mechanized their operations, which led to thousands of layoffs. 

Emma Tenayuca, leader of the Pecan-Shellers’ Strike of 1938 | Photo Courtesy of The Institute of Texan Cultures

The strike was documented in newspapers nationwide. It was a small victory but it gave the community hope and was a step forward in the struggle for equality. It showed that one person, no matter how small, can make a difference. Being a Mexican American resident of San Antonio, I gravitated to Emma’s story. Emma Tenayuca led a spirited movement utilizing her tenacity and dedication to justice. Following the Pecan-Shellers’ strike, many San Antonio residents ostracized Emma because of her controversial political ties to communism. Angry protesters sent numerous death threats and eventually forced Emma to flee San Antonio in fear for her safety.

Over 20 years after the Pecan Shellers’ Strike, Emma returned to San Antonio to get her Masters Degree in Education from Our Lady of the Lake University. Emma then taught bilingual education, and devoted herself to teaching children of migrant workers how to read. She continued to empower others until her death in 1999. This last part of her story is especially compelling for me because Emma dedicated the latter half of her life to education. It feels me with hope to think that I too can make a lasting difference.

How Emma’s Story Lives On

Although Tenayuca’s life was fraught with controversy, she has come to be known as a pioneering Hispanic heroine in San Antonio. Beginning in the 1970s during the Chicano Movement, scholarly organizations such as the National Association for Chicano and Chicana Studies recognized Emma for her civil rights activism. In 1991 Emma was inducted into the San Antonio Women’s Hall of Fame. In 2008, Carmen Tafolla and Sharyll Teneyuca, Emma’s niece, wrote a children’s book illustrating the life and trailblazing spirit of this San Antonio heroine. The book, titled That’s Not Fair! / ¡No Es Justo! is a wonderful legacy for a powerful Mexican American figure.

Most recently, Emma Tenayuca was remembered with an ofrenda dedicated to her memory displayed at the 2018 Dia de los Muertos celebration at the Pearl Market in San Antonio.

Emma Tenayuca ofrenda at the Pearl Market Dia de los Muertos celebration

Emma Tenayuca left a legacy of social change and an inspiring commitment to justice. Let’s honor her memory by continuing her fight for social equity.

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Me Siento Muy…Excited!

Hello everyone! My name is Sara Ramirez and I am super excited to be part of the inaugural year of the Public History graduate program at St. Mary’s University. I graduated from the University of Texas at Austin with a Bachelor’s of Science and Arts in Biology and have since spent my professional career in informal education. I’ve worked as an educator at the San Antonio Zoo and the Doseum, the Children’s Museum of San Antonio. Presently, I am a Library Assistant with the San Antonio Public Library. I am also a member of the 2018 class of the  Alexander Briseño Leadership Development Program.

 

I believe the Public History graduate program will help to integrate my different interests and passions including history, environmental science, sustainability, digital inclusion, and allow for community engagement and collaboration. This is a truly unique and amazing program. I am eager to begin working on different projects and get to know my professors and classmates better!

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