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              <text>https://bnmdigital.mpf.mp.br/DocReader/DocReader.aspx?bib=DOC_BNM&amp;pesq=death+squad.</text>
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            <description>A name given to the resource</description>
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                <text> Brasil: Nunca Mais Digital — Newspaper Collections&#13;
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            <description>The topic of the resource</description>
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                <text> Media coverage; censorship; political repression; torture; death squads; Brazilian dictatorship</text>
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            <description>An account of the resource</description>
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                <text>This digital archive compiles newspaper coverage of repression in Brazil from both domestic and international outlets, including Folha de S. Paulo and Jornal do Brasil. Articles document cases of torture, political imprisonment, and death squad activity, often highlighting the persistence of violence despite official denials. &lt;br /&gt;&lt;br /&gt;These reports reveal the tension between censorship and exposure: while the military regime restricted information, evidence of abuses still circulated nationally and globally. Coverage often framed victims in terms of crime or subversion, reflecting broader narratives that shaped public perception.</text>
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                <text>Brasil: Nunca Mais Project; World Council of Churches; archival and research institutions</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>Brasil: Nunca Mais Digital Archive</text>
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                <text>Ministério Público Federal (Brazil) and partner institutions</text>
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            <name>Date</name>
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                <text>Original materials: 1970s–1980s; digitized collection (21st century)</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Journalists; newspaper editors; human rights researchers; archival staff</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Digital archive made available for public research and educational purposes; rights may vary by individual newspaper article</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>Part of the broader Brasil: Nunca Mais project documenting human rights abuses during the dictatorship</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Digital archive; scanned newspaper articles (PDF/images)</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Portuguese (primarily); some international sources in English/Spanish</text>
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                <text>Newspaper collection; digital archive</text>
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                <text>Brazil (national); 1970s–1980s during the military dictatorship</text>
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                <text>21st Century Female-led Afro-descendant Activism in Cuba and the Dominican Republic</text>
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                <text>This three-part podcast series explores non-traditional female Afro-descendant activism in the 21st century in Cuba and the Dominican Republic. It examines how women play a crucial role in resisting and challenging systemic racism and advocating for gender justice through creative means, like music. The two case studies, Las Krudas (Cuba) and Ochy Curiel (Dominican Republic), are used to analyze how they both address and challenge coloniality and embrace a decolonial framework within the confines of their messages and respective countries. &lt;strong&gt;Episode 1&lt;/strong&gt; provides the topic's geographical, historical, and sociocultural context. Meanwhile, &lt;strong&gt;episode 2&lt;/strong&gt; presents two case studies, some of their music, and an analysis of their work. Lastly, &lt;strong&gt;episode 3&lt;/strong&gt; compares two case studies to Cuba and the Dominican Republic. Throughout the three episodes, the creators aim to introduce the topic and its context, demonstrate how the two case studies operate within a decolonial framework, and analyze the convergences and divergences of Las Krudas and Ochy Curiel and Cuba and the Dominican Republic based on their conceptualizations and experiences with non-traditional female afro-descendant activism.</text>
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                <text>Hoerig, Chrissy </text>
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                <text>Rueda Hartman, Mariana </text>
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                <text>Chrissy Hoerig, Catalina Diaz, Eden Wilson, Ceren Ozkan, Mariana Rueda Hartman</text>
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                <text>2025</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Chrissy Hoerig, Catalina Diaz, Eden Wilson, Ceren Ozkan, Mariana Rueda Hartman</text>
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                <text>Podcast, MP3</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Agrarian Reforms of the Twentieth Century in Peru and Bolivia: From Ethnic Identity to Economic Identity</text>
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            <description>An account of the resource</description>
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                <text>&lt;span&gt;How did agrarian reforms reshape indigenous identity and activism in Peru and Bolivia? These two episodes explore the political shift from&amp;nbsp;&lt;/span&gt;&lt;em data-start="149" data-end="156"&gt;indio&lt;/em&gt;&lt;span&gt;&amp;nbsp;to&amp;nbsp;&lt;/span&gt;&lt;em data-start="160" data-end="171"&gt;campesino&lt;/em&gt;&lt;span&gt;&amp;nbsp;and its impact on indigenous movements in both countries. By examining the economic and social consequences of this transformation, we analyze how state policies redefined ethnic identity, shaping indigenous struggles.&amp;nbsp;&lt;/span&gt;&lt;strong&gt;Episode 1&lt;/strong&gt;&lt;span&gt;&amp;nbsp;delves into Peru’s 1969 agrarian reform, focusing on Velasco Alvarado’s government and his&amp;nbsp;&lt;/span&gt;&lt;em data-start="502" data-end="517"&gt;Día del Indio&lt;/em&gt;&lt;span&gt;&amp;nbsp;speech.&amp;nbsp;&lt;/span&gt;&lt;strong&gt;Episode 2&lt;/strong&gt;&lt;span&gt;&amp;nbsp;continues with Bolivia’s 1952 agrarian reform, comparing its implementation with Peru’s. We assess the effectiveness, flaws, and long-term impact of these reforms, questioning their accessibility and outcomes for the communities they aimed to include in their political projects.&lt;/span&gt;</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Ruiz, Alonso</text>
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                <text>Farrell, Alice</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text> Alonso Ruiz and Alice Farrell</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2024</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="346">
                <text>Alonso Ruiz and Alice Farrell</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Podcast, MP3</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Apremios Ilegales</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Torture; Police violence; State repression; Protest music</text>
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            <description>An account of the resource</description>
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                <text>A song by Pedro y Pablo that directly references torture practices (“apremios ilegales”) used by security forces. Represents a rare example of explicit lyrical resistance prior to the height of censorship.</text>
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                <text>Pedro y Pablo</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Album Conesa (1972)</text>
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            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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                <text>Trova</text>
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            <name>Date</name>
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                <text>1972</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Sound (music)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Copyright held by label</text>
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            <name>Language</name>
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                <text>Spanish</text>
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                <text>Argentina: Increasing Censorship</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>State censorship; Media control; Cold War; Surveillance; Cultural repression</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A declassified U.S. intelligence document analyzing the rise of censorship in Argentina prior to and during the dictatorship. Highlights the institutional mechanisms that restricted artistic expression, including music.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Central Intelligence Agency</text>
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                <text>Declassified government document</text>
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                <text>U.S. Government</text>
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            <name>Date</name>
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                <text>1975 (relevant until 1983)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="4779">
                <text>Public domain- U.S. unrestricted document.</text>
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                <text>Comunidade Xokleng</text>
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                <text>"A placa de Area protegida foi derrubada pelos invasores" [Le panneau de la zone protégée a été arraché par les envahisseurs.]</text>
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                <text>Amorelli, Lucas</text>
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                <text>Amazônia Real. (2022, décembre 11). Comunidade Xokleng. Flickr. &lt;a href="https://www.flickr.com/photos/amazoniareal/52557871969/"&gt;https://www.flickr.com/photos/amazoniareal/52557871969/&amp;nbsp;&lt;/a&gt;</text>
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                <text>La première utilisation du design actuel du drapeau remonte à 1889. La dernière modification apportée au design actuel du drapeau brésilien remonte à 1992.</text>
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                <text>Image: &lt;em&gt;Flag of Brazil&lt;/em&gt;. Country flags. Récupéré novembre 11, 2024 de &lt;a href="https://www.countryflags.com/flag-of-brazil/"&gt;https://www.countryflags.com/flag-of-brazil/&lt;/a&gt;</text>
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                <text>Text: Drapeau du Brésil. (2024, &lt;span&gt;août 2&lt;/span&gt;). &lt;span&gt;In &lt;/span&gt;&lt;em&gt;Wikipedia&lt;/em&gt;&lt;span&gt;. &lt;a href="https://fr.wikipedia.org/wiki/Drapeau_du_Brésil#"&gt;https://fr.wikipedia.org/wiki/Drapeau_du_Brésil#&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Catalogueur: Eliana Cabral Cruz</text>
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                <text>Raimundo Teixeira Mendes, en collaboration avec Miguel Lemos, Manuel Pereira Reis et Décio Villares</text>
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                <text>Gracias a la vida</text>
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                <text>A widely recognized song performed by Mercedes Sosa, one of the most important voices of Latin American protest music. “Gracias a la vida” became symbolic of resilience and survival under political repression and exile. Sosa’s interpretation turned the song into an anthem of emotional resistance, often associated with solidarity movements and anti-dictatorship struggles across Latin America.</text>
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                <text>1971 (composition); widely performed 1970s–2000s</text>
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                <text>Copyright is placed by the recording label, but accessible to the public for listening </text>
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