 Bienvenidos a este lugar vale. My name is Tanya Bowers and I am the Director for Diversity at the National Trust for Historic Preservation. We are a national non-profit organization and our mission is to save America's historic places. So welcome to our Preservation 101 training. Our goal is to educate you about approaches, players, policies which can help you save Latino cultural resources. And at the end of this training you will learn how historic preservation tools and resources can help you save community treasures. And this is geared towards those who are passionate about a particular place or history. Some of you may have prior knowledge of historic preservation but even if you do, hopefully this will help you brush up on some of these tools and resources. So just to give you a little bit of background on the National Trust's experience with Latino cultural and historic preservation, back in 2010-2011 we engaged in eight different conversaciones across the country as a part of an effort to engage Latinos in conversations around places that matter. We also brought different partners from the historic preservation community to these conversations so that they could learn and also share about different tools that were available in the historic preservation field. We heard a lot of things during the conversaciones and you will see in this picture from the Miami Conversación, a conversation that took place at one of one of our our tables. And one of the main things that we heard was that our stories and our contributions have largely been ignored or downplayed in the larger American narrative. To go a little deeper into some of these themes that emerged, one of them was about this tradition of preserving cultural heritage. And one of the things that we found were that a lot of buildings and places which had been significant in different Hispanic communities were no longer standing. Why was this? Decisions had been made by the powers that be that many of these places weren't worthy of preserving so highways were put through neighborhoods or buildings were torn down for urban renewal projects and other large-scale developments. As a result, what communities were able to hold on to was the intangible. And there's been a great tradition of stewardship of this cultural legacy for generations, those being music, language, religion, recipes. And we see that legacy passed on from generation to generation. In the photo, you will see one of the staff at the Races Latin Music Museum in East Harlem, New York, talking about some of the cultural heritage that his institution has helped to preserve. So one of the other things that we heard is that there actually has been a great stewardship of places for generations in Latino communities. A lot of these folks may be new to the official preservation movement, but we are not new to actually saving places. Why is that? Because before these lands we now call the United States existed, many ancestors lived here. And one of the places that is evidence of this is the Mission del Sagrado Corazon, which is in Ruedosa, Texas, which at one point was a thriving border town. And nowadays, even though this is a particular ghost town, a virtual ghost town, this beautiful Catholic church still exists. And it's right at the foot of the Canadi Mountains on the Texas-Mexico border. And it was built in 1910. We know that there was a lot of settlement at the beginning of the 20th century here. Additionally, in a number of towns throughout the United States and cities throughout the United States, Latinos were one of the waves of immigrants. And we have seen a lot more Latino immigration in the last 20 or 30 years. The photo you see in front of you is a Panaderia bakery in Iowa. And it happens to be a bakery that's on a main street. We find that some of the newer immigrants who are in various cities throughout the country actually are giving new lives to a lot of these buildings. And these are places where businesses are run, where residents live, and folks are taking on these cultural resources as their as their own, particularly in Iowa. Even from the 19, I'm sorry, the 2000 to the 2010 census, there's been an 84% increase in the number of Hispanics. And this actually harkens back to a lot of Mexican immigration that can be traced to the 20th century. At that time, it was sugar beet industry, railroads, as well as the Mexican Revolution. Those numbers dropped off during the Depression, but they picked up again in the 1980s due to the food processing industry. So this stewardship of places, we were told that even though a lot of Latinos may not necessarily be using quote unquote appropriate materials or styles, what's happening really needs to be recognized as legitimate in its in its own right. You see a photo from the St. John the Divine Church in Argentine, Kansas. And this building actually ended up getting on to the National Register of Historic Places in October of 2013. And in Kansas, again, just referring back to some of the history that we talked about in in the Midwest in Iowa. In Kansas, there was, again, a great deal of immigration due to laws limiting Europeans and Asians as well as labor shortages between the First and Second World War. That allowed for opportunities for a number of Mexicans and Mexican Americans to come to Kansas. And interestingly, this particular church, which had been built in 1887 by a Methodist congregation at a wood frame church, it had been sold to the Catholic Diocese in 1937. Interestingly, the Catholic community in this part of Kansas had the Mexican Catholics attend this particular church because they weren't welcome at the other Catholic church in the area. And a lot of Mexican families had come to the area again to work on railroads, sugar meat packing plants, and salt mining during the early decades of the 20th century. And they became the stewards of this particular building. The Archdiocese closed the building in 1992 due to dwindling membership, but a group called St. John the Divine Community Art and Education Center, they ended up acquiring the structure from a private owner, and they are seeking to restore the building to create a non-religious community art center, and are hoping to tap historic preservation grants and tax credits to do so. One of the other themes that we had, again, heard at the conversaciones, was that we want our history, our contributions to be recognized. And the National Park Service rose to the call in 2011, former Department of the Interior Secretary Ken Salazar launched the American Latino Heritage Initiative. And this theme study, American Latinos and the Making of the United States, was the result of it. It represents some of the latest scholarship in Latino history, and over 17 Latino scholars wrote about Latino history in the United States in terms of making a nation, making a life, making a living, and making a democracy. And this theme study ends up becoming a tool to help identify and evaluate the historical significance of Latino related places in the hopes that those places will be nominated for the National Register. So some of you might be wondering what exactly is historic preservation? And we asked this question of three self-proclaimed preservationists who identify as Latino. And you see some of their answers or excerpts from their answers on the screen in front of you. From Sylvia Gonzalez, who is at Villa Finale in San Antonio, Esteban Rao Galvez, a previous Vice President of Historic Sites at the National Trust for Historic Preservation in Washington, D.C., and Fernando Javeris from the Conservation Trust of Puerto Rico. And one of the answers I find most moving is the first bullet you see, the act of taking care of our cultural past for current and future generations. To answer that question, what is historic preservation? We figured we would capture it with some slides. And you see in front of you a photo of a historic home, which is in St. Peter's Historic District in Laredo, Texas. It is a local district in this part of South Texas. Some might consider it high-style. On the next slide, you will see a photo of the Casita Rincón Carrillo, which is in the Bronx. Some might consider this a more modest structure. You may know that these casitas are small houses surrounded by gardens. They have been created to recall the look and feel of the Puerto Rican countryside. And several of them have dotted vacant lots throughout the Bronx, Manhattan, and Brooklyn. This particular one currently occupies its second city-owned site in the South Bronx. And you actually see a photo of Puerto Rican artist and planero, Benny Ayala, giving drum lessons to young people in the community. For over 20 years, the Casita served as a meeting place for local residents and musicians. And music such as Bomba and Plena, which are unique forms of Puerto Rican style, played with drums and percussions accompanied by singing and dancing, have always been performed here by community members to solidify rich traditions and heritage of the Rincón Carrillo. This site is not yet on the National Register of Historic Places, but City Law and Organization in New York is working to make that happen. The next photo you will see is of Bombi Alley, which is in San Francisco's mission district. And on Bombi Alley, this happens to comprise the largest concentration of murals in San Francisco within one entire city block. And in 1972, artists from the Chicana Artist Collective Las Mujeres Muralistas, they began painting experiences of women. Additionally, in 1984, a large-scale mural project resulted in 27 murals by Chicano and Central American artists relaying some themes of Central American conflicts, human rights violations, peace promotion, and the area's indigenous cultures. For over 2,000 years, the Yalamu Indians inhabited the area, which is now known as the Mission District. Spanish missionaries arrived in the area in the late 18th century. And during the 40s through the 1960s, Mexican immigrants moved into the area, giving the mission a heavily Latino character for which it continues to be known today. In the 1960s, that wave was followed by a large number of Central American immigrants, so much that Central American immigration outpaced that of Mexicans. And between the 1980s and the 1990s, the neighborhood received an even higher influx of immigrants and refugees from Central and South America fleeing civil wars and political instability. Landscapes are also a part of historic preservation. You see in front of you a photo from Las Trampas, New Mexico. This is actually a wooden log aqueduct that was a part of the Spanish Asequia system. When Spanish arrived in the area, they discovered Native Americans had been irrigating the area, and they brought their own Asequia system to help irrigate arid lands throughout the Southwest. Las Trampas happens to be one of a string of villages that sits on a scenic high road to Taos between Santa Fe and that town. In 1751, 12 Spanish families settled there, and in 1967, Las Trampas was made a National Historic District. The next slide shows Miami Marine Stadium, and this was cutting edge technology designed by a Cuban-born architect, Eladio Candela, in the 1960s. This was the first waterfront stadium in the United States. It ended up hosting a number of international performers as well as waterfront sports. Since that time, it was erected, and the National Trust is working hard to see the stadium relive its original glory with the help of advocates such as Gloria Estefan. The next slide shows an example of preservation in places that we work, everyday places we might come across, and this photo happens to be of the KWX Univision Station in San Antonio, Texas. Unfortunately, this building was torn down in December of 2013. It had been erected in 1955 by Raúl Cortez. This mid-century modern structure became the nation's first full-time Spanish language station. Even though only one out of three households nationwide owned a television, San Antonio's local audience was able to support a full-time Spanish language television station at that time. The building was one of a few mid-century modern designs in downtown San Antonio prior to it being torn down, and local activists waged a battle to support the building's local designation. Unfortunately, the Office of Historic Preservation wasn't able to step up to prevent the demolition, and this building is no longer there. Historic Preservation is also about places where we play these everyday places where lives are worth preserving, and the photo is of the Maravia Handball Court in East Los Angeles. The court was built in 1928 as a private court for male handball players in this community, which happened to be working class. It was multi-ethnic, made up of immigrants from Mexico, Ireland, Germany, and Japan. The Nishiyamas, Japanese Americans, ended up buying the court and next door the El Centro grocery. They sponsored numerous community functions at the court, posted local announcements, extended store credit to regular customers, and the area became a de facto social center for the small neighborhood, which is now Majority Latino. And in 2012, the Handball Court and El Centro grocery became listed on the California Register of Historical Resources. So when we are able to preserve places, these stories get told. And in the next few slides, you're going to see some different images that will help to show that historic preservation can either give new life to places that had been of historic significance to Latino communities, or it can give new life to places that didn't necessarily have a historic connection to these communities. We see a photo here of the Boyle Hotel, the Cummings Block. This is in Boyle Heights, Los Angeles, a place which is also affectionately known as the Mariachi Hotel. And it was built in 1889. Its builder, George Cummings and his wife, Sacramento Lopez de Cummings hosted political, charitable, and social events in the hotel's dining and reception rooms. Their marriage was representative of unions between daughters of established Mexican families and newly arrived Euro-American entrepreneurs during the Mexican period and in the transitional decades following California statehood when political, social, and economic power was shifting from Californios to Anglos. Although the building had many different lives, including formerly a hotel and a grocery store, since the 1930s, it became known, as I said, as the Mariachi Hotel. Across the street there's a triangular island that's also known as Mariachi Plaza where local Mariachi musicians get jobs as bands at different restaurants. And in 2007, the building was declared a Los Angeles cultural monument. Since then, the East Los Angeles Community Corporation has been able to purchase the building and rehab the hotel as 51 units of affordable housing. It's also the Mariachi Cultural Center and contains over 4,000 square feet of retail space. This rehabilitation was done using historic tax credits. The next slide shows how something that had historic significance to a local Hispanic community now has new life serving a larger local community. And this is the El Centro Español de Tampa in the Ybor City neighborhood of Tampa, Florida. Immigrants from Spain, including some by way of Cuba, came to this bustling factory town as tobacco workers in the late 1890s. El Centro Español was the first of several ethnic social clubs and mutual aid society organizations. There was large-scale Spanish immigration and Cuban immigration to Florida in the 1890s, which continued into the early 20th centuries. The club actually played a number of vital roles in Ybor City's development. They were particularly important in welcoming and orienting new rivals to the immigrant community. This clubhouse happened to be built in 1912. The organization actually ended up consolidating their membership to another clubhouse in West Tampa. They sold the building. It remained vacant until 2010, and it now houses the Hillsborough Education Foundation and its teaching tools for Hillsborough Schools program. The building happened to be included in the National Register of Historic Places in 1974. As a contributing property within the Ybor City Historic District and became a national historic landmark in its own right in 1988, Costa de Maryland happens to be the state's largest Latino and immigrant service organization. They acquired the property in 2001, and in 2008 they began a historic rehab of the property in a desire to convert it into a multicultural center. In 2010, it opened as Costa de Maryland's multicultural center, providing services that included financial and computer literacy education, immigrant legal and civil rights assistance, job placement, and food industry training. Federal tax credits, Maryland state historic tax credits, and federal energy tax credits helped to contribute to its revitalization. In this slide, you see what happens when places are lost. We see on the left side, a photo of La Gloria Dance Hall and gas station, and this particular venue had been owned by Mexican immigrant Matilde Elizondo since 1928. The facility had many different uses, but one of its most important happened to be a rooftop dance floor, which had been built in an effort to pay off the mortgage for the larger property. Elizondo had wanted to provide a safe place for families, so security guards kept order and no alcohol was allowed. La Gloria became a neighborhood icon providing family entertainment for all ages. Until 1941, when many young men went off to serve in World War II, time to change after the war, La Gloria returned to its gas and service station functions. After Elizondo's death, the building changed ownership, and in 2002, it ended up being demolished. Once it was gone, community members were very upset, and stories remained. There are various ways memories of place can be saved, and you see several examples of them on the slide in front of you. We also find photos, which are of particular significance to a number of Cuban Americans who between 1960 and 1962 were part of Operation Pedro Pond. This was the code name of a CIA project. 14,000 Cuban children between the ages of 5 and 18 were sent from Cuba to Miami by their parents who opposed the new Cuban revolutionary government. With the help of the Roman Catholic Archdiocese of Miami and Monsignor Brian Walsh, some of the children ended up being placed with relatives, friends, foster care, or in homes across 35 states. One of them in particular was flown to Casa Suarez in 1964, and Casa Suarez was where a number of them were flown into. This is a part of a Florida city camp, and a marker was erected in 2013. So seeing all these examples of historic preservation, you might be wondering how you do it. And we have outlined a number of steps or primeros pasos that can be taken to preserve these places. Please note that these steps can be taken in any particular order. One of the main steps involves identifying a threat, a threat to a place that matters to you. And many different indicators will give you a sense that there is some urgency around a particular place. In front of you, you see the Azteca Theater in the L. Azteca neighborhood of Laredo, Texas. This was designated with an official Texas historical marker in 1999. It happens to also be a national registered district. It was one of the earliest residential neighborhoods in Laredo. The area had been divided into lots between the 1870s and 1880s. Even though this particular building was vacated, L. Azteca Barrio remains a thriving district. So when you see that there is a threat based on some of the indicators that were listed on the previous slide, you can take a number of steps. You may want to consult with a local planning department or a preservation partner. And in the photo, you will see some dancers, some residents at the Wyvernwood Garden Apartments. This is in the Boyle Heights area of Los Angeles. And these garden apartments, long-term residents of them will actually test to the close-knit community and family ties spanning generations, fostered by the complex's innovative design. And in 1999, a company rolled some bulldozers to tear down garages, even with people's belongings still in them. This was to make the way for a new structure that they wanted to erect. And residents of Wyvernwood immediately put down their bodies in front of the bulldozers. They contacted an attorney to stop tearing down the garages. And their battle remains today. One of the other steps that you might want to take is connecting or forming a group. And sometimes you may want to join forces with an existing preservation group or form your own. And the photo happens to show a bungalow that is in the Little Havana neighborhood of Miami. An elderly Cuban couple had sold the building to the Dade Heritage Trust, which is a preservation partner. And historic designation was secured from the city of Miami. An environmental nonprofit, Citizens for a Better Miami, which is headed up by Hispanics, focusing on educating the Latin community. They have ended up occupying the renovated home, which was restored by Hispanic architect. And the Dade Heritage Trust project enhanced the appearance of this particular neighborhood and has led to another historic bungalow being restored on the same street. One of the other steps identified is defining a vision and making a plan. And this can happen in many ways, focusing on programs and objectives, coming up with goals and action plan, also thinking about budget fundraising strategies and publicity. And this is exemplified in the photo where brainstorming took place at the Los Angeles Conversación. The Esperanza Peace and Justice Center is an example of a wonderful organization, a community-based organization that has collaborated with city government in instances to save buildings. And in front of you, you see a picture of Casa Maldonado. This is also referred to as the pink building. And why don't you now watch the video that is on the website to learn more about how Esperanza Peace and Justice Center battled to preserve Casa Maldonado. Determining significance is one of the additional steps that can be taken. That can happen by doing neighborhood surveys and also finding out more about the history and the significance of the site. And this photo actually comes out of the Eastside Heritage Consortium training that was done at Esteban Torres' High School, Social Justice Academy. This is in East Los Angeles. And the city of Los Angeles had engaged in a historic resources survey, which was called Survey LA. And this particular part of Los Angeles, which wasn't a part of the city boundary, decided to engage in their own survey. And Eastside Heritage Consortium was the community-based entity that took responsibility for this effort, training a number of local residents, and figuring out what resources also existed in their neighborhood. One of the things that helped to determine significance are looking at some of the criteria that are used to determine it. And the National Register of Historic Places offers some criteria for consideration. You'll see listed in terms of a place, whether it be a district, a site, a building, or structure, a number of ways listed. And the picture that we actually see of Mesilla Plaza in Dona Ana County in New Mexico actually qualified in 1982 was listed on the National Register as a National Historic Landmark. And the historic district was added to the National Registry in 1985. On the basis of its significance in American history, when the time, when the Mesilla was founded, the population of the town was concentrated around the Plaza for defense against Apache raiders who were a constant threat to the settlement. There are also a number of adobe buildings around the Plaza that remain today. And you actually see in this photo where we go into a little bit more depth about these criteria. B talks about being associated with the lives of persons of significance in our past. And this home, the Casa Doctora Concha Meléndez Ramirez in Puerto Rico, happens to be located in one of the oldest and most prestigious suburbs in Puerto Rico. The properties associated with the productive life of Doctora Meléndez, who was one of the most significant and influential academics in Puerto Rico's cultural history. And this was designated in 2013. So you've heard me referring several times to historic designation. And we have designation, which can be done on the local, state, or federal level. There are actually two different levels within federal. And the photo that you see of the old San Juan Historic District happens to actually be nationally significant. So it's on the National Historic Landmark. It's a part of the National Historic Landmarks. And it is considered one of the premier colonial cities in the United States and the nation's most important and complete Spanish urban center. It was designated on the basis of its significance because of its architectural history and its reflection of Spanish culture and colonial history. And there are several Gothic renaissance and Baroque buildings, which represent soul stylistic examples of these architectural styles found anywhere in the nation. Let's focus in on local designation. The vast majority of designations take place on this level. It's actually the easiest cumbersome of the designation processes. And it affords the most protection for privately owned resources. You see a photo of St. Anthony's Church in Cuesta, New Mexico. And in the next slide, we're actually going to see Esteban Real-Galvez talk about why his community decided to pursue this designation. One of the things that I've realized in all of my efforts to work on historic sites across the nation and in so many different capacities is that all preservation is local. And it really takes the community coming together to realize the importance of a certain place and bring their minds, their hearts, all of their efforts to save that particular place. And it's really based on a philosophy that I think has transformed many communities. Si se puede, yes we can. And whether we're focusing on an effort to place a site on the national register, on the state register, or local, we have to take a phased approach. And I have seen the most successful efforts begin very much at the local effort by moving it through to the state and national. And I think of my own home village, the San Antonio del Rio Colorado, otherwise known as Cuesta Church, the St. Anthony's Church. When the wall fell, the seven foot wide adobe wall fell. The entire community was distraught and challenged by this because it was as if their grandmother, grandfather's leg had been broken. But they gathered around that. They did what they knew that they had to do, which began by placing it on a local ordinance. The community didn't have a full understanding of what it meant to place it on the national or state ordinance. But they knew that they had to preserve it in some way. And it started with the local community by gathering around the village council and asking it to be placed on the local and creating a preservation ordinance. I think that was the first time that a preservation ordinance had been established for that particular village. I think and that's only the beginning of the story. The wall has now been rebuilt. The restoration effort is well on its way. And I think the the the church has become a metaphor for a healing within the entire community. Certainly I can see that church being listed on the state and national register soon. But it also began at the local level. State designation is another another option. And many of us know that each state has its own processes, procedures and requirements. For different states listings may trigger different regulatory protection from state or government action or whether a property owner is eligible for tax benefits or incentives in the property's rehabilitation. We see a photo of the self-help graphics art and art building in the Boyle Heights neighborhood of Los Angeles. And Karina Munez who is a former coordinating community outreach coordinator with the Los Angeles Conservancy is going to tell us a little bit more about the designation process that took place to protect self-health graphics and art. It was incredible to see the self-help graphics building on the California register of historical resources. This is a huge community effort. At the time the archdiocese had sold the building without letting self-help graphics staff know. And so there was great fear about what was going to happen to the organization. Where were they going to move? Were they going to be able to stay? And what was going to happen to the building? And while they've now relocated to where they originally were formed in Boyle Heights, the legacy of self-help graphics building on Cesar Chavez and Gage continued to remain a huge important cultural icon for the community. The effort was long and extensive. We did various oral history interviews. We spoke with scholars, folks who had been part of self-help graphics, not just their selves, but their children had grown up in the community and making art and contributing to the community and the building itself. There's so much rich history there that starts in the 40s post-suit riots with the Catholic Youth Organization in the 60s with the Easterlings sound and music that came out of the building itself. And then when Sister Karen as well took over and was able to really help support East Los Angeles artists that were getting closed out from the West Side Art and decided to create their own voice using their own political messages and culture to create a new art form. And in doing so, they made a huge contribution to the Chicano movements of the 60s and 70s and then also continuing on into the 80s as well and to music in the 80s with the VEX and to supporting youth programs to continue to make art, to continue to do print making, print screening. It has been a huge resource for the community. And also the mosaics themselves, Eduardo Ropeza worked tirelessly for three years to put the mosaics piece by piece onto the walls and now the building wouldn't be the same without them. You might also decide to nominate a particular place onto the National Register of Historic Places. This is the nation's official list of properties worthy of preservation and you'll see that those places can take many forms. There are different levels of significance, national, state, or local. This list is managed by the National Park Service and as of August 2013 there were over 88,000 listings on them. The photo to the right is of Lerma's nightclub in San Antonio. This happened to be the longest running live Conjunto music venue in Central and South Texas. Conjunto is a unique Texas fusion of German and Czech accordion sounds as well as the Mexican ranchera played by migrating farm workers in the fields of the local area. This particular dance hall has cultural significance because historically many important musicians played there. This building was erected in 1946 as a cinder block construction but it has art deco architectural features and it comprised five different sections. The land, the first buyer of the land to show a structure was the Wu family, the property then transferred to six other owners with Chinese surnames and in 1951 Pablo Lerma took over the lease of the larger section which had previously been called El Sembrero and turned it into an exclusively live Conjunto music venue. Code violations threatened the owner's stewardship of the building. A group of community members banded together to form the Save Lerma's coalition and the building is still standing but not currently open for business. So national historic landmarks are a special category of national register properties and these are ones that possess an exceptional value or quality in commemorating or illustrating or interpreting the history of the United States and so just to distinguish this again refers to story certificate to the nation as a whole. Slightly more than 225 hundred historic places bear this national distinction just compare that number to the 88,000 sites as of August 2013 which were on the national register of historic places and this particular structure the Trujillo Homestead was designated in 2012 as a national historic landmark and it was done so in the area of exploration and settlement for exceptionally representing an important topic of American history that topic being the expansion of hispano American settlement into the newly acquired region of the American frontier and a wave of northern settlement by newly minted American citizens of Hispanic background is key to understanding the settlement history of the United States and the attendant influence of hispano culture on the nation. There are a number of misconceptions about listing a property in the national register oftentimes people think well if I don't have a beautiful building it can't get designated this is a fallacy buildings can get designation on the beauty on the basis of their architectural integrity as well as the basis of their social history oftentimes people all also fear that being on the national register impacts what an owner chooses to do with the property that's not true because an owner's free to do whatever she wants with that property even dispose of it provided that there are no federal and there's no federal involvement and there's no obligation for an owner to restore maintain or open that property to the public you see pictures in front of you from the Pilsen historic district that became a national registered district in February 2006 and the Pilsen neighborhood was historically a first step neighborhood for immigrants first arriving from Bohemia in the 1870s and later on from Mexico in the 1950s we saw an increase in Hispanic presence in the area but it wasn't until the early 1960s that there was a great spurt of numbers of Latinos in Pilsen and this on the left side you'll actually uh actually see a picture of the El Popo Tortilla factory that was founded in 1954 after a family or Antonio and Ernesto Vina who had been making Mexican tortillas in their three flat apartment on Chicago's west side decided to actually go into business and many know that around 1970 Latinos became the majority population in Pilsen surpassing people of Eastern European descent there are also number perceived barriers to listing properties in the national register um one in particular is uh the fear of gentrification um and we actually see in front of us a photo uh in front of the Casa Amadeo this is in the Longwood section of the of the south Bronx um Casa Amadeo actually opened um in 1941 as Casa Hernandez um this was just prior to um to a large post-World War II Puerto Rican migration into New York and um the business went into the Manhasset apartment building um which was built in 1905 and the business Casa Amadeo is thought to be the oldest Puerto Rican owned music store in New York City um it helped to disseminate Latin music into the United States band leaders and record companies looked to Latin instrumentalists and frequently used the stores as middlemen tax incentive programs encourage the reuse of older buildings and these programs can exist at federal state and local levels the Hyman building was built in 1907 as a hotel in the heart of San Antonio's commercial district it happened to be vacated in the 1970s when an interstate highway isolated the neighborhood from the rest of the city the neighborhood became one of the poorest and most neglected areas of San Antonio fortunately in the year 2000 Avonce a national organization that provides education and social service services to over 17,000 low-income parents and children acquired their property through a donation and they embarked on an ambitious rehabilitation of this San Antonio landmark which was located in the Cattleman Square historic district tax credit programs often take place on the federal or state level the federal historic rehabilitation tax credit is administered by the national park service a property must be on the national register national register eligible in order to qualify a rehabilitation must take place for income producing purposes and 20 percent of the cost can be reimbursed through the tax credit now state rehabilitation tax credits do not need to have a property be on the national register even though the state credit often piggybacks off the federal credit and that credit varies from five to 30 percent we see a photo of the former Tivoli theater in Columbia Heights Washington DC at one point the Tivoli theater was one of the most elegant movie houses in Washington DC it had been completed in 1924 the building was placed on the national register of historic places in 1985 gala grupo de artistas latin americanos uh hispanic theater is a national center for latino performing arts in the nation's capital and in 2005 after an almost six year renovation gala was able to move into its long-awaited home at the Tivoli so there are many other tools federal tools that help to make preservation happen i want to talk about one of them um you see on the right side the department of transportation acts section 4f and this stipulates that the effects of transportation projects should not harm significant parks recreation areas wildlife refuges or historic sites and we have found that it has been particularly helpful in the el serino neighborhood in south pasadena and during the 1970s 1980s and 1990s battles were fought to oppose a six mile wide 1.4 billion extension of the route 710 freeway it would have cut through four nationally recognized historic districts along the edge of two others destroying a thousand homes and 6 000 mature trees so um neighbors within this largely latino community of el serino they got together to protect what is considered the oldest community in los angeles to fight the uh the potential new freeway so what makes preservation happen it's partners and these partners can be non-profit groups um they can be private sector groups they can be public sector groups and um those can also be preservation oriented or non-preservation oriented groups you see in front of you a picture of architectos um this is a group of latino professionals in chicago that was formed in 1985 and their initial objective was to provide a valuable resource that offered latino architects opportunities for career and professional development and they have since been very supportive of preservation of different latino resources in the chicago area you see that we've actually divided some of the existing partners into these two categories those that are non-profits will fall into the private sector grouping and you will see that those partners happen to be at a national a state or a local level public sector partners are at federal state or tribal as well as local levels if you need to find lists of those in your particular area you can always go to preservation nation dot org so we hope that this session has given you information that will help you to protect some cultural resources that may be of value to you if you have additional information you would like to obtain don't hesitate to get in contact with me tanya bowers my phone number and email are on the screen in front of you and just to give credit where credits do again this presentation was put together in partnership with the national trust for historic preservation