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              <text>My mother Ana Maria de la Rosa Codina helped process Braceros in McAllen, Texas. She would type the applications. She said that many braceros would reverse their last names (mother/father's names) because they knew that that was the custom in the US. Then these names would be reversed again by the processors! &#13;
&#13;
Edward Codina&#13;
ecodina  at earthlink.net</text>
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                <text>Edward  Codina</text>
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              <text>RE: the Bracero History Archive: &#13;
&#13;
I am Refugio I. Rochin, Professor Emeritus of UC Davis and Santa Cruz and native of San Diego County. I was born in May 1941 and worked with my father who was under contract to provide Bracero Labor camps with food and related provisions from 1941 through 1964, the year the program ended.&#13;
&#13;
I believe that little has been written about the relationships developed between Bracero hosting corporations and U.S.  service providers, especially Hispanics (Mexican-Americans) in business. I am writing to make sure that the Bracero story is told in terms of its spin-offs, corporate ties and the impact of Bracero contracts in San Diego county.&#13;
&#13;
For example, Sunkist and avocado growers (also called associations) developed camps and facilities for Bracero workers in San Diego county to live in during the time they harvested and processed vegetables, avocados, oranges and lemons. &#13;
&#13;
The camps they developed would hold (by my recollection) 25 to 300 workers each. Relatively large camps were located in Fallbrook, Vista and Escondido California.  Each camp was built of wood and appeared to be modeled like US military barracks. The workers (all men) slept in  bunk-beds, closely lined with boxes for each for personal items.&#13;
 &#13;
Workers used open showers and did their laundry - much like soldiers of their day.  Workers ate together in "mess-halls."  They used metal trays for food and regular glasses for drinks. The quality of food varied by camp, cooks and staples provided by the companies. Camps that specialized in "Mexican food" kept their workers content. Camps that did not serve Mexican food experienced some protests and worker flight.&#13;
&#13;
I know this from personal experience. My father was one of the first contractors in San Diego county who worked successfully for Sunkist growers, serving Mexican food with fresh tortillas, lots of beans and rice and meat. The camps served by my father often had workers from other camps seeking "sanctuary" at the Sunkist camps.&#13;
&#13;
My father developed a wholesale business called C&amp;R Provisions in Oceanside. He learned from personal experience as an immigrant farmworker (beginning at 15 years of age) the importance of home cooking and service.&#13;
&#13;
The 'C' in C&amp;R stood for Castorena (Manuel) and the 'R' for Rochin (Refugio). &#13;
&#13;
Manuel Castorena (Spanish origin) was my fathers friend and our neighbor. He became the first mayor of Carlsbad California - also the founder of Carlsbad's acclaimed school for gems.&#13;
&#13;
Refugio Rochin (my father - born in Sinaloa Mexico in 1908) was a wholesaler of Mexican produce and owner of Mexican grocery stores and restaurants. Through the restaurants he befriended (mostly through the Rotary Club) some of Sunkist's executives. One, in particular, Roy Workman, who was married to a Mexican, was responsible for contract workers. Roy liked my dad and handled my dad's special contracts with Sunkist.&#13;
&#13;
Together, C&amp;R and Sunkist developed contracts to feed workers at Sunkist labor camps. C&amp;R Provisions also picked up several other farm labor camps in San Diego county.  &#13;
&#13;
The business relationship led to C&amp;R becoming a successful operation, supplying Mexican food and related supplies (e.g corn husks for tamales, spices, tortilla presses) in the region.&#13;
&#13;
I can relate more since I started working with my father in C&amp;R from the time I was 10 years old. I was born in May 1941.  When I was 16 - 1957 -  I had my own delivery route and went to camps in Fallbrook, Vista, San Marcos and Escondido.&#13;
&#13;
I also delivered to my father's close friend - actor Leo Carrillo. He purchased my fathers' specially aged prime rib and Mexican food for his parties and friends - some I met were old time movie stars, Conrad Hilton, and corporate executives. At the time, Leo was always in the Rose Parade and rode his beautiful gold stallions, all dressed with silver saddle, etc. For verification, contact: Gerry Streff. Visit:&#13;
www.carrillo-ranch.org&#13;
&#13;
Leo Carrillo was referred to as Mr Republican. My father was a Republican and my mother a Democrat - mostly because of social ties, not because of political agendas.&#13;
&#13;
The Julian Samora Research Institute at Michigan State University published booklet that my mother wrote, covering aspects of the Rochin business and bracero program. It lends credence to my account above. It also shows the affect of my father's work and friends in her life. She provides another perspective of the Mexican business community, beginning with her birth in 1913 in Colton California.&#13;
&#13;
http://jsri.msu.edu/RandS/books/juanita/index.shtml&#13;
&#13;
Let me know if you have questions or interest in other Bracero related work. I can relate, for example, how la migra (US border patrol) raided our restaurant and harassed our Mexican workers - legal or not. This story continues today. &#13;
&#13;
Refugio&#13;
&#13;
Refugio I. Rochin, PhD&#13;
Professor &amp; Research Director, Emeritus, UC Davis and UC Santa Cruz&#13;
Founding Director, Smithsonian Center for Latino Initiatives&#13;
rrochin at ucdavis.edu&#13;
http://works.bepress.com/refugio_rochin/&#13;
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                <text>1. Martinez Family Harvesting Alongside Braceros, 1941</text>
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                <text>1 of 6 photos.  Pictured: Eusevia Martinez (age 16), Daniel Fernandez Martinez (age 45) and Daniel Martinez *(age 12), circa 1941, Planada, California.&#13;
&#13;
The Martinez family lived in Claremont, California. During the 1940s, the children, who were U.S. citizens, picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley. This photo shows Daniel Fernandez Martinez of Claremont and two of his nine children picking Kadota figs in Planada, California. &#13;
&#13;
*Daniel Martinez (son) is author of the Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
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                <text>. Martinez Family Harvesting Alongside Braceros, 1941</text>
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                <text>01. Pictured: Eusevia Martinez (age 16), Daniel Fernandez Martinez (age 45) and Daniel Martinez *(age 12), circa 1941, Planada, California.&#13;
&#13;
The Martinez family lived in Claremont, California. During the 1940s, the children, who were U.S. citizens, picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley.  This photo shows Daniel Fernandez Martinez of Claremont and two of his nine children picking Kadota figs in Planada, California. &#13;
&#13;
*Daniel Martinez (son) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
	&#13;
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                <text>02. Pictured: Eusevia Martinez (Garcia) and Christina Martinez (Gonzalez) picking figs in Planada, California, circa 1947. &#13;
Married names are shown in parenthesis.&#13;
&#13;
The Martinez family lived in Claremont, California. During the 1940s, the children, who were U.S. citizens, picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley.  This photo shows Daniel Fernandez Martinez of Claremont and two of his nine children picking Kadota figs in Planada, California. &#13;
&#13;
*Daniel Martinez (photographer)is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
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&#13;
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&#13;
*Daniel Martinez (photographer) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
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02. Pictured: Eusevia Martinez (Garcia) and Christina Martinez (Gonzalez) picking figs in Planada, California, circa 1947. Married names are shown in parenthesis.&#13;
&#13;
The Martinez family lived in Claremont, California. During the 1940s, the children, who were U.S. citizens, picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley.  This photo shows family members picking Kadota figs in Planada, California. &#13;
&#13;
*Daniel Martinez (photographer) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
&#13;
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&#13;
*Daniel Martinez (photographer) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).&#13;
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&#13;
The Castruita and Martinez families of Baldwin Park, and Claremont, California picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley.&#13;
&#13;
*Daniel Martinez (photographer) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).</text>
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                <text>06. Pictured: Grace Castruita, Isabel Martinez (Alba), Rosie Castruita (Martinez), Christina Martinez (Gonzalez), and Veronica Guadalupe “Lupe” Martinez (Curtis) picking figs in Planada, California, circa 1947.  Married names shown in parentheses.&#13;
&#13;
The Castruita and Martinez families of Baldwin Park, and Claremont, California picked fruit alongside Braceros both locally in the San Gabriel Valley, and as migrant workers throughout California’s Central Valley.&#13;
&#13;
*Daniel Martinez (photographer) is author of Thesis “The Impact of Bracero Programs on a Southern California Community”, pub. 1958 (also available on the Bracero Archive).</text>
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                <text>C&amp;R Provisions in 1949, behind Rochin grocery store (left side of pic) &amp; Rochin restaurant on right side of pic.</text>
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                <text>Refugio Rochin</text>
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            <name>Online Submission</name>
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          <element elementId="62">
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                <text>Governor of Baja CA (white suit) cutting cake for inauguration of Acapulco Gardens restaurant. </text>
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                <text>Governor of Baja CA (white suit) cutting cake for inauguration of Acapulco Gardens restaurant. Juanita &amp; Refugio on right side of Gov with Sal and Lupe Villasenor next to mariachi , 1949</text>
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            <name>Online Submission</name>
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              <text>MY PAPA CAME TO THE US AS A BRACERO IN THE EARLY 1940'S FROM A SMALL VILLAGE IN MICHOCHAN, MEXICO...HE WAS AN ORPHAN AND BEGAN WORKING AS A YOUNG BOY IN MEXICO...HIS AUNT RAISED HIM...HE ONLY HAD A 3RD GRADE EDUCATION...BUT HE COULD READ AND WRITE...WHEN HE WAS A YOUNG MAN...THE VILLAGE HAD BEEN BULLETED WITH FLIERS ABOUT WORK IN THE US...HE TOLD HIS AUNT HE WAS GOING TO FIND OUT IT...HE NEVER RETURNED HOME. THEY SAW A STRONG YOUNG MAN AND BOARDED HIM ON THE TRAIN WITH OTHERS AND HE BEGAN WORKING IN THE FIELDS OF SO. MONTEREY COUNTY. HE TOILED IN THE FIELDS WITH NO WATER, LITTLE FOOD AND OFTEN FILLED WITH MAGGETS...HE TOLD THE WORKERS NOT TO EAT THE FOOD...HE BECAME AN ADVOCATE FOR DECENT HUMAN CONDITIONS FOR THE BRACEROS...WHAT LITTLE MONEY  HE MADE SENT IT BACK TO MEXICO.  IN THE LATE 1940'S HE SETTLED IN SAN JUAN BAUTISTA, CA...HE WORKED AS COOK IN BOARDING HOUSE FOR BRACEROS BY NOW AND MET HIS WIFE, CARMEN MURO...THEY WOULD HAVE 8 CHILDREN...MANY OF HAVE RECEIVED A COLLEGE DEGREE, ONE A MASTER'S DEGREE...AND IN 2008 HE PASSED AWAY AT THE AGE OF 95...STILL ABLE TO TELL HIS STORIES OF HIS JOURNEY  INTO THE US. AT THE AGE OF OF 82 YEARS OLD HE BECAME A US CITIZEN...REALIZING HE NEVER GOING TO RETURN HOME TO MEXICO.</text>
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            <name>Title</name>
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                <text>CRISPIN G. ESPINOSA...LA ENTRADA  A USA DE BRACERO </text>
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                <text>CONSUELO ESPINOSA</text>
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              <text>I was able to get a copy of my mothers border crossing documet. Document #1553.&#13;
Her name was Emma Gutierrez de Gutierrez and she was 26 years old and pregnant when she crossed the border into Nogales, Arizon on February 5th 1947.&#13;
She had been married to Jesse Gutierrez(no relation) in Mexico City and he had come back to work in the fields. He was a U.S. Citizen.&#13;
She was to stay with her mother-in-law who had found her a job picking strawberries in Santa Maria, California.&#13;
I was born on June 11th 1947.&#13;
She stayed in California for all of her life and later became a U.S. Citizen.&#13;
When she passed away I took her ashes back to the land where she had come from, Mexico.</text>
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            <description>A name given to the resource</description>
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            <description>Information about rights held in and over the resource</description>
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                <text/>
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            <name>Submission Consent</name>
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              <elementText elementTextId="59059">
                <text>Yes</text>
              </elementText>
            </elementTextContainer>
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            <name>Contributor is Creator</name>
            <description>Indicates whether or not the contributor of the Item is responsible for its creation.</description>
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                <text>Yes</text>
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              <text>My father was born in 1919 in Rockdale  Illinois, the son of a poor Mexican worker. Even though he was a U.S. citizen, he was deported and was only able to re-enter though the Bracero program. He did manual labor all his life and raised 4 college-educated sons to become exemplary U.S. Mexican-American citizens.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>come or go</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="59654">
                <text>Ricardo Villalobos</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Ricardo Villalobos</text>
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            <name>Submission Consent</name>
            <description>Indicates whether or not the contributor of this Item has given permission to submit this to the archive. (Yes/No)</description>
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            <description>Indicates whether or not the contributor of this Item has given permission to post this to the archive. (Yes/No)</description>
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              <elementText elementTextId="59658">
                <text>Yes</text>
              </elementText>
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            <description>Indicates whether or not the contributor of the Item is responsible for its creation.</description>
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              <elementText elementTextId="59659">
                <text>Yes</text>
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  <item itemId="3209" public="1" featured="0">
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          <name>Text</name>
          <description>Any textual data included in the document.</description>
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              <text>I grew up in Ventura County, California in the 1960s.  Every summer the braceros would magically appear, working in the agricultural fields surrounding our tiny town of Somis.  They would stay for a few months and then just as magically disappear – headed north, we heard.  I was curious about them, and to be honest a little afraid of them.   They seemed rough and tough and free, quite unlike anyone else I had ever seen.   &#13;
&#13;
The summer after my freshman year in high school I was able to get a job working in the fields.  I was the only “gringo” kid in the crew and, although I could work almost as hard and as long as the braceros, the fact that I could speak Spanish really made a difference.  I was invited to join them for lunch and for their morning and afternoon “taco breaks”, and they taught me words that were much more colorful than those I learned in Spanish class.   &#13;
&#13;
I had asthma as a kid and one day I came to work after a particularly difficult bout, still having difficulty breathing.  I knew that if I worked in the sun for a few hours I would probably be OK, but I wasn’t sure I could make it.   We were all supposed to work our way down the field rows at the same pace, and if you fell behind or were seen helping someone else you could find yourself in a lot of trouble.  &#13;
&#13;
The field boss was in a particularly foul mood that day, which only made matters worse.  I began to fall behind and was growing really worried when the bracero in the row to my left began stealthily working my row in addition to his own.  Then the one to my right began doing the same thing.   Neither of them said a word, but both of them were risking the wrath of the field boss just to help me.  We worked this way for about two hours until I was able to handle it myself.  &#13;
&#13;
I have never forgotten those acts of kindness or the generosity of spirit they showed.   They demonstrated in a very personal way the real purpose of the bracero program, extending an arm to help a neighbor.   &#13;
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="62">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Acts of Kindness</text>
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          <element elementId="51">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60621">
                <text>Ron Taylor</text>
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          <element elementId="49">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="60622">
                <text>Ron Taylor</text>
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            </elementTextContainer>
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          <element elementId="59">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60623">
                <text>You are being asked to contribute your story to the Bracero History Archive, which is developing a permanent digital record of the Bracero program. Your participation in the project will allow future historians, and people such as yourself, to gain a greater understanding of this program and its effect on the people involved.&lt;br /&gt;You must be 13 years of age or older to submit material to us. Your submission of material constitutes your permission for, and consent to, its dissemination and use in connection with the Bracero History Archive in all media in perpetuity. If you have so indicated on the form, your material will be published on the Bracero History Archive website (with or without your name, depending on what you have indicated). Otherwise, your response will only be available to approved researchers using the Bracero History Archive. The material you submit must have been created by you, wholly original, and shall not be copied from or based, in whole or part, upon any other photographic, literary, or other material, except to the extent that such material is in the public domain. Further, such material must not violate any confidentiality, privacy, security or other laws.&lt;br /&gt;By submitting to the Bracero History Archive you release, discharge, and agree to hold harmless the Bracero History Archive and persons acting under its permission or authority, including a public library to which the collection might be donated for purposes of long-term preservation, from any claims or liability arising out of the Bracero History Archive's use of the material, including, without limitation, claims for violation of privacy, defamation, or misrepresentation.&lt;br /&gt;The Bracero History Archive has no obligation to use your material.</text>
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      <elementSet elementSetId="8">
        <name>Contribution Form</name>
        <description>The set of elements containing metadata from the Contribution form.</description>
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          <element elementId="42">
            <name>Online Submission</name>
            <description>Indicates whether or not this Item has been contributed from a front-end contribution form.</description>
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              <elementText elementTextId="60624">
                <text>Yes</text>
              </elementText>
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          <element elementId="43">
            <name>Posting Consent</name>
            <description>Indicates whether or not the contributor of this Item has given permission to post this to the archive. (Yes/No)</description>
            <elementTextContainer>
              <elementText elementTextId="60625">
                <text>Yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Submission Consent</name>
            <description>Indicates whether or not the contributor of this Item has given permission to submit this to the archive. (Yes/No)</description>
            <elementTextContainer>
              <elementText elementTextId="60626">
                <text>Yes</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="98">
            <name>Contributor is Creator</name>
            <description>Indicates whether or not the contributor of the Item is responsible for its creation.</description>
            <elementTextContainer>
              <elementText elementTextId="60627">
                <text>Yes</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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      <tag tagId="35">
        <name>bracero</name>
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        <name>kindness</name>
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  <item itemId="3210" public="1" featured="0">
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      <description>A resource containing textual data.  Note that facsimiles or images of texts are still of the genre text.</description>
      <elementContainer>
        <element elementId="1">
          <name>Text</name>
          <description>Any textual data included in the document.</description>
          <elementTextContainer>
            <elementText elementTextId="60644">
              <text>hi my name is luis gerrardo lopez  and mi granpa justo work as a bracero  wen he was 20 years old  he said that wen he was living in ROMITA. G.T.O.the alcalde was hiering people to work in the U.S.A.like a bracero and he dind have any money to give to hes family he said that he was going to work in texas  but from ROMITA they send him to REYNOSA and from REYNOSA to texsas hidalgo and he started workin their picking cotton and pickles but he told me that they had a fumigation process and that they hve to take their close of for the fumigation and that they justo eat bolonia whit hamburger bred and that they justo sleep on a catre insied  a hOUSE well this is mi story and sorry for mi spelling .aim trying to contac you &#13;
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="62">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="60637">
                <text>my father was a bracero</text>
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          <element elementId="49">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60638">
                <text>luis lopez</text>
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            <name>Creator</name>
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                <text>luis lopez</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="60645">
                <text>You are being asked to contribute your story to the Bracero History Archive, which is developing a permanent digital record of the Bracero program. Your participation in the project will allow future historians, and people such as yourself, to gain a greater understanding of this program and its effect on the people involved.&lt;br /&gt;You must be 13 years of age or older to submit material to us. Your submission of material constitutes your permission for, and consent to, its dissemination and use in connection with the Bracero History Archive in all media in perpetuity. If you have so indicated on the form, your material will be published on the Bracero History Archive website (with or without your name, depending on what you have indicated). Otherwise, your response will only be available to approved researchers using the Bracero History Archive. The material you submit must have been created by you, wholly original, and shall not be copied from or based, in whole or part, upon any other photographic, literary, or other material, except to the extent that such material is in the public domain. Further, such material must not violate any confidentiality, privacy, security or other laws.&lt;br /&gt;By submitting to the Bracero History Archive you release, discharge, and agree to hold harmless the Bracero History Archive and persons acting under its permission or authority, including a public library to which the collection might be donated for purposes of long-term preservation, from any claims or liability arising out of the Bracero History Archive's use of the material, including, without limitation, claims for violation of privacy, defamation, or misrepresentation.&lt;br /&gt;The Bracero History Archive has no obligation to use your material.</text>
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        <name>Contribution Form</name>
        <description>The set of elements containing metadata from the Contribution form.</description>
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              <text>I worked with the bracero on my way out to San Francisco. i needed to raise some money forthe trip so i ended up picking grapes with several of them, sharing their camp and eventually falling iin love with one of their women. we had many drunken nights swiftly rambling across the old west. their memory still haunts and delights me.</text>
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              <text>Los estudiantes discutirán sus conocimientos sobre el tema de inmigración, aprenderán acerca del Programa Bracero y usaran fotografías para desarrollar un mayor entendimiento de dicho programa. </text>
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              <text>Aprendiendo por medio de fotografías &#13;
&#13;
Resumen&#13;
Los estudiantes discutirán sus conocimientos sobre el tema de inmigración, aprenderán acerca del Programa Bracero y usaran fotografías para desarrollar un mayor entendimiento de dicho programa. &#13;
&#13;
Objetivos: &#13;
Los estudiantes serán capaces de:&#13;
•	Describir aspectos del Programa Bracero, el cual existió desde 1942 hasta 1964. &#13;
•	Usar fotografías como recurso principal. &#13;
&#13;
Nivel Escolar: 6-8/9-12&#13;
&#13;
Centro Nacional de Estándares en Historia :  &#13;
Estándares en Historia de Estados Unidos&#13;
Estándar 3C- El estudiante entenderá los efectos de la Segunda Guerra Mundial en casa.&#13;
Estándar 4A- El estudiante entenderá el concepto de la “Segunda Reconstrucción” y sus avances en derechos civiles.&#13;
&#13;
Estándares en Razonamiento Histórico &#13;
Estándar 2F- Apreciar perspectivas históricas.&#13;
Estándar 2I- Manejar fuentes visuales, literarias y musicales. &#13;
Estándar 4B- Obtener datos históricos.&#13;
 &#13;
Materiales:&#13;
°	Fotografías: Varias fotografías serán puestas en línea (fotografías por Leonard Nadel) en: http://www.braceroarchive.org y de la exhibición, America on the Move del Museo Nacional de Historia Americana, en: http://americanhistory.si.edu/onthemove/themes/story_51_5.html&#13;
°	Fuentes Principales: Forma de fotografías de Braceros de la Colección de  Leonard Nadel en el Museo Nacional de Historia Americana&#13;
°	Hoja de Análisis de las Fotografías del Bracero&#13;
°	Computadora con acceso a internet&#13;
°	Impresora&#13;
°	Pluma, lápiz y papel&#13;
&#13;
&#13;
&#13;
Actividad:&#13;
1.	Divida la clase en grupos pequeños. En grupos pequeños, los estudiantes deberán discutir lo siguiente: ¿Qué es inmigración? ¿Qué noticias, comentarios o historias has leído o escuchado acerca de inmigración en los Estados Unidos? ¿Conoces a alguien que haya emigrado a Estados Unidos, ya sea recientemente o en el pasado? &#13;
Esta discusión está diseñada para incitar el diálogo entre los estudiantes y no deberá incluir cátedra. Además, cada estudiante deberá tener oportunidades similares y  extensas para describir qué ha escuchado o aprendido acerca de inmigración fuera del contexto del aula.&#13;
&#13;
Para extender esta discusión, considere hacer que los estudiantes creen un página de internet. ReadWriteThink ofrece herramientas en línea que permite a los estudiantes crear páginas de internet así como imprimir y compartir las mismas. (http://readwritethink.org/student_mat/student_material.asp?id=38) &#13;
&#13;
2.	Haga que los estudiantes escriban enunciados cortos resumiendo sus conocimientos a cerca del tema de inmigración. &#13;
&#13;
3.	Presente a los estudiantes la historia del Programa Bracero usando la hoja de antecedentes aquí adjunta. Quizá usted quiera compartir el contenido oralmente o haga que los estudiantes lean el ensayo de manera individual. &#13;
&#13;
4.	Dividida la clase en grupos pequeños. &#13;
&#13;
5.	Entregue a cada grupo una de las fotografías aquí adjuntas, para ser analizada. Así mismo, entregue la Hoja de Análisis de las Fotografías del Bracero. Haga que llenen las primeras dos columnas (“evidencia” y “conclusión”) basándose en la fotografía entregada. &#13;
&#13;
6.	Después de que los grupos hayan llenado las primeras dos columnas de la Hoja de Análisis de las Fotografías del Bracero, haga que los estudiantes ingresen a internet y lean la información que describe a la fotografía. &#13;
&#13;
7.	Haga que los grupos comparen su “conclusión” con la que se encuentra en línea. Los estudiantes deberán comparar sus conclusiones (columna tres en la Hoja de Análisis de las Fotografías del Bracero) con la información prevista en el título y descripción de la fotografía que se encuentra en línea. &#13;
&#13;
8.	Haga que los estudiantes tomen notas con respecto a sus conclusiones, si éstas coinciden o no con lo que se encuentra en línea. ¿Son éstas las mismas? ¿Son diferentes? ¿Qué otra información se puede aprender de los títulos y descripciones de las fotografías que se encuentran en línea? Agreguen estas notas en la columna cuatro de la Hoja de Análisis de las Fotografías del Bracero.&#13;
&#13;
&#13;
9.	Haga que todos los grupos antes formados se incorporen a la clase y  comuniquen a sus compañeros acerca de lo que encontraron. Asegúrese de pedirles que comenten acerca de algo que hayan encontrado en las fotografías que los llevó a tomar esa conclusión.      &#13;
&#13;
Para ampliar esta actividad, considere hacer que los estudiantes asocien sus conocimientos a cerca del Programa Bracero con lo que anteriormente conocían sobre inmigración. Pida a los estudiantes que reflexionen acerca de cómo esto que acaban de aprender tiene efecto (cambia o afirma) en cuanto a lo que ellos anteriormente anotaron (paso 2).&#13;
&#13;
&#13;
&#13;
		&#13;
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              <text>Los estudiantes ser&amp;aacute;n capaces de: &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Describir aspectos del Programa Bracero, el cual existi&amp;oacute; desde 1942 hasta 1964. &lt;/li&gt;&#13;
&lt;li&gt;Usar fotograf&amp;iacute;as como recurso principal.&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>&lt;strong&gt;Est&amp;aacute;ndares en Historia de Estados Unidos&lt;/strong&gt; &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 3C- El estudiante entender&amp;aacute; los efectos de la Segunda Guerra Mundial en casa. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 4A- El estudiante entender&amp;aacute; el concepto de la &amp;ldquo;Segunda Reconstrucci&amp;oacute;n&amp;rdquo; y sus avances en derechos civiles. &lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;br /&gt;&lt;strong&gt;Est&amp;aacute;ndares en Razonamiento Hist&amp;oacute;rico &lt;/strong&gt;&lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 2F- Apreciar perspectivas hist&amp;oacute;ricas. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 2I- Manejar fuentes visuales, literarias y musicales. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 4B- Obtener datos hist&amp;oacute;ricos.&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>&lt;ul&gt;&#13;
&lt;li&gt;&lt;a href="../../../fotografias.pdf" target="_blank"&gt;Fotograf&amp;iacute;as&lt;/a&gt;: Varias fotograf&amp;iacute;as ser&amp;aacute;n puestas en l&amp;iacute;nea (fotograf&amp;iacute;as por Leonard Nadel) en: &lt;a href="../../../"&gt;http://braceroarchive.org&lt;/a&gt; y de la exhibici&amp;oacute;n, America on the Move del Museo Nacional de Historia Americana, en: &lt;a href="http://americanhistory.si.edu/onthemove/themes/story_51_5.html"&gt;http://americanhistory.si.edu/onthemove/themes/story_51_5.html&lt;/a&gt; &lt;/li&gt;&#13;
&lt;li&gt;Fuentes Principales: Forma de fotograf&amp;iacute;as de Braceros de la Colecci&amp;oacute;n de  Leonard Nadel en el Museo Nacional de Historia Americana &lt;/li&gt;&#13;
&lt;li&gt;&lt;a href="../../../Hojadeanalisis.pdf" target="_blank"&gt;Hoja de An&amp;aacute;lisis&lt;/a&gt; de las Fotograf&amp;iacute;as del Bracero &lt;/li&gt;&#13;
&lt;li&gt;Computadora con acceso a internet &lt;/li&gt;&#13;
&lt;li&gt;Impresora &lt;/li&gt;&#13;
&lt;li&gt;Pluma, l&amp;aacute;piz y papel&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>1.	Divida la clase en grupos peque&amp;ntilde;os. En grupos peque&amp;ntilde;os, los estudiantes deber&amp;aacute;n discutir lo siguiente: &amp;iquest;Qu&amp;eacute; es inmigraci&amp;oacute;n? &amp;iquest;Qu&amp;eacute; noticias, comentarios o historias has le&amp;iacute;do o escuchado acerca de inmigraci&amp;oacute;n en los Estados Unidos? &amp;iquest;Conoces a alguien que haya emigrado a Estados Unidos, ya sea recientemente o en el pasado?  Esta discusi&amp;oacute;n est&amp;aacute; dise&amp;ntilde;ada para incitar el di&amp;aacute;logo entre los estudiantes y no deber&amp;aacute; incluir c&amp;aacute;tedra. Adem&amp;aacute;s, cada estudiante deber&amp;aacute; tener oportunidades similares y  extensas para describir qu&amp;eacute; ha escuchado o aprendido acerca de inmigraci&amp;oacute;n fuera del contexto del aula.  &lt;br /&gt;&lt;strong&gt;Para extender esta discusi&amp;oacute;n&lt;/strong&gt;, considere hacer que los estudiantes creen un p&amp;aacute;gina de internet. ReadWriteThink ofrece herramientas en l&amp;iacute;nea que permite a los estudiantes crear p&amp;aacute;ginas de internet as&amp;iacute; como imprimir y compartir las mismas. (&lt;a href="http://readwritethink.org/student_mat/student_material.asp?id=38"&gt;http://readwritethink.org/student_mat/student_material.asp?id=38&lt;/a&gt;) &lt;br /&gt;&lt;br /&gt;2.	Haga que los estudiantes escriban enunciados cortos resumiendo sus conocimientos a cerca del tema de inmigraci&amp;oacute;n. &lt;br /&gt;&lt;br /&gt;3.	Presente a los estudiantes la historia del Programa Bracero usando la hoja de antecedentes aqu&amp;iacute; adjunta. Quiz&amp;aacute; usted quiera compartir el contenido oralmente o haga que los estudiantes lean el ensayo de manera individual.   &lt;br /&gt;&lt;br /&gt;4.	Dividida la clase en grupos peque&amp;ntilde;os. &lt;br /&gt;&lt;br /&gt;5.	Entregue a cada grupo una de las fotograf&amp;iacute;as aqu&amp;iacute; adjuntas, para ser analizada. As&amp;iacute; mismo, entregue la Hoja de An&amp;aacute;lisis de las Fotograf&amp;iacute;as del Bracero. Haga que llenen las primeras dos columnas (&amp;ldquo;evidencia&amp;rdquo; y &amp;ldquo;conclusi&amp;oacute;n&amp;rdquo;) bas&amp;aacute;ndose en la fotograf&amp;iacute;a entregada. &lt;br /&gt;&lt;br /&gt;6.	Despu&amp;eacute;s de que los grupos hayan llenado las primeras dos columnas de la Hoja de An&amp;aacute;lisis de las Fotograf&amp;iacute;as del Bracero, haga que los estudiantes ingresen a internet y lean la informaci&amp;oacute;n que describe a la fotograf&amp;iacute;a.   &lt;br /&gt;&lt;br /&gt;7.	Haga que los grupos comparen su &amp;ldquo;conclusi&amp;oacute;n&amp;rdquo; con la que se encuentra en l&amp;iacute;nea. Los estudiantes deber&amp;aacute;n comparar sus conclusiones (columna tres en la Hoja de An&amp;aacute;lisis de las Fotograf&amp;iacute;as del Bracero) con la informaci&amp;oacute;n prevista en el t&amp;iacute;tulo y descripci&amp;oacute;n de la fotograf&amp;iacute;a que se encuentra en l&amp;iacute;nea.   &lt;br /&gt;&lt;br /&gt;8.	Haga que los estudiantes tomen notas con respecto a sus conclusiones, si &amp;eacute;stas coinciden o no con lo que se encuentra en l&amp;iacute;nea. &amp;iquest;Son &amp;eacute;stas las mismas? &amp;iquest;Son diferentes? &amp;iquest;Qu&amp;eacute; otra informaci&amp;oacute;n se puede aprender de los t&amp;iacute;tulos y descripciones de las fotograf&amp;iacute;as que se encuentran en l&amp;iacute;nea? Agreguen estas notas en la columna cuatro de la Hoja de An&amp;aacute;lisis de las Fotograf&amp;iacute;as del Bracero.   9.	Haga que todos los grupos antes formados se incorporen a la clase y  comuniquen a sus compa&amp;ntilde;eros acerca de lo que encontraron. Aseg&amp;uacute;rese de pedirles que comenten acerca de algo que hayan encontrado en las fotograf&amp;iacute;as que los llev&amp;oacute; a tomar esa conclusi&amp;oacute;n.        &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Para ampliar esta actividad&lt;/strong&gt;, considere hacer que los estudiantes asocien sus conocimientos a cerca del Programa Bracero con lo que anteriormente conoc&amp;iacute;an sobre inmigraci&amp;oacute;n. Pida a los estudiantes que reflexionen acerca de c&amp;oacute;mo esto que acaban de aprender tiene efecto (cambia o afirma) en cuanto a lo que ellos anteriormente anotaron.&lt;br /&gt;&lt;br /&gt;&lt;a href="../../../Evaldocs-sp.pdf"&gt;Evaluacion:&lt;/a&gt;</text>
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                <text>Los estudiantes discutirán sus conocimientos sobre el tema de inmigración, aprenderán acerca del Programa Bracero y usaran fotografías para desarrollar un mayor entendimiento de dicho programa. </text>
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                <text>Anais Acosta</text>
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              <text>Los estudiantes deberán investigar dos leyes públicas y otras fuentes relacionadas con el programa de trabajadores Bracero. Aplicaran sus conocimientos y evaluaran si el programa fue llevado a cabo tal como fue previsto. </text>
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              <text>Aprendiendo de Documentos&#13;
&#13;
Resumen:&#13;
Los estudiantes deberán investigar dos leyes públicas y otras fuentes relacionadas con el programa de trabajadores Bracero. Aplicaran sus conocimientos y evaluaran si el programa fue llevado a cabo tal como fue previsto. &#13;
&#13;
Objetivos: &#13;
Los estudiantes serán capaces de:&#13;
•	Describir aspectos del programa de trabajadores bracero, el cual existió desde 1942 hasta 1964. &#13;
•	Usar documentos como fuente principal. &#13;
&#13;
&#13;
Nivel Escolar: 6-8/9-12&#13;
&#13;
Centro Nacional de Estándares en Historia :  &#13;
&#13;
Estándares en Historia de Estados Unidos&#13;
Estándar 3C- El estudiante entenderá los efectos de la Segunda Guerra Mundial en casa.&#13;
Estándar 4A- El estudiante entenderá el concepto de la “Segunda Reconstrucción” y sus avances en derechos civiles.&#13;
&#13;
Estándares en Razonamiento Histórico &#13;
Estándar 2- Entender la perspectiva histórica.&#13;
&#13;
Materiales:&#13;
&#13;
Recursos Principales:&#13;
°	Ley Pública 45 disponible en: http://www.ccrh.org/comm/moses/primary/bracero.html&#13;
°	Ley Pública 78 disponible en: &#13;
http://library.uwb.edu/guides/USimmigration/1951_public_law_78.html&#13;
°	Documentos, ensayos y fotografías localizados en:www.braceroarchive.org&#13;
°	Computadora con acceso a internet&#13;
°	Impresora&#13;
°	Pluma, papel y lápiz&#13;
&#13;
Actividad:&#13;
&#13;
1.	Pida a los estudiantes que lean los primeros dos párrafos de la Ley Pública 45 y Sección 501 de la Ley Pública 78. (Explique a los estudiantes que estarán leyendo documentos importantes; en este caso, una legislación que se relaciona con la creación e implementación de el Programa Bracero en los Estados Unidos) Haga que llenen la Hoja de Análisis de documento (adjunta).&#13;
&#13;
Como un reto extra, considere pedirle a los estudiantes que describan cómo estas leyes encajan o contrastan a diferencia de otros programas puestos en marcha por los mismos presidentes involucrados (Franklin Delano Roosevelt, Harry S. Truman, y Lyndon B. Johnson).&#13;
&#13;
Como investigación adicional en cuanto a presidentes, considere visitar la exhibición en línea The American Presidency: A Glorious Burden (http://americanhistory.si.edu/presidency/home.html), del Museo Nacional de Historia Americana.&#13;
&#13;
2.	Haga que los estudiantes busquen en los Archivos del Bracero (www.braceroarchive.org) para que investiguen las condiciones de vida y de trabajo de los trabajadores del Programa Bracero. Haga que los estudiantes registren las fuentes que usaron y que tomen nota de cada uno de estos recursos. &#13;
&#13;
3.	Usando el resultado de su investigación, haga que los estudiantes discutan este tema: ¿Los agricultores siguieron adelante con las leyes y las protecciones establecidas por estas leyes? ¿Qué pruebas tiene usted para respaldar su conclusión?&#13;
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              <text>Los estudiantes ser&amp;aacute;n capaces de: &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Describir aspectos del programa de trabajadores bracero, el cual existi&amp;oacute; desde 1942 hasta 1964. &lt;/li&gt;&#13;
&lt;li&gt;Usar documentos como fuente principal.&lt;/li&gt;&#13;
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              <text>&lt;strong&gt;Est&amp;aacute;ndares en Historia de Estados Unidos &lt;/strong&gt;&lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 3C- El estudiante entender&amp;aacute; los efectos de la Segunda Guerra Mundial en casa. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 4A- El estudiante entender&amp;aacute; el concepto de la &amp;ldquo;Segunda Reconstrucci&amp;oacute;n&amp;rdquo; y sus avances en derechos civiles. &lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;strong&gt;&lt;br /&gt;Est&amp;aacute;ndares en Razonamiento Hist&amp;oacute;rico &lt;/strong&gt;&lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 2- Entender la perspectiva hist&amp;oacute;rica.&lt;/li&gt;&#13;
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              <text>Recursos Principales: &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Ley P&amp;uacute;blica 45 disponible en: &lt;a href="http://www.ccrh.org/comm/moses/primary/bracero.html "&gt;http://www.ccrh.org/comm/moses/primary/bracero.html &lt;/a&gt;&lt;/li&gt;&#13;
&lt;li&gt;Ley P&amp;uacute;blica 78 disponible en:  &lt;a href="http://www.ccrh.org/comm/moses/primary/bracero.html"&gt;http://library.uwb.edu/guides/USimmigration/1951_public_law_78.html&lt;/a&gt; &lt;/li&gt;&#13;
&lt;li&gt;Documentos, ensayos y fotograf&amp;iacute;as localizados en: &lt;a href="http://www.braceroarchive.org"&gt;braceroarchive.org&lt;/a&gt;&lt;/li&gt;&#13;
&lt;li&gt;Computadora con acceso a internet &lt;/li&gt;&#13;
&lt;li&gt;Impresora &lt;/li&gt;&#13;
&lt;li&gt;Pluma, papel y l&amp;aacute;piz&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>1.	Pida a los estudiantes que lean los primeros dos p&amp;aacute;rrafos de la Ley P&amp;uacute;blica 45 y Secci&amp;oacute;n 501 de la Ley P&amp;uacute;blica 78. (Explique a los estudiantes que estar&amp;aacute;n leyendo documentos importantes; en este caso, una legislaci&amp;oacute;n que se relaciona con la creaci&amp;oacute;n e implementaci&amp;oacute;n de el Programa Bracero en los Estados Unidos) Haga que llenen la Hoja de An&amp;aacute;lisis de documento (adjunta).  &lt;br /&gt;&lt;strong&gt;Como un reto extra&lt;/strong&gt;, considere pedirle a los estudiantes que describan c&amp;oacute;mo estas leyes encajan o contrastan a diferencia de otros programas puestos en marcha por los mismos presidentes involucrados (Franklin Delano Roosevelt, Harry S. Truman, y Lyndon B. Johnson). &lt;br /&gt; &lt;strong&gt;Como investigaci&amp;oacute;n adicional en cuanto a presidentes&lt;/strong&gt;, considere visitar la exhibici&amp;oacute;n en l&amp;iacute;nea The American Presidency: A Glorious Burden (&lt;a href="http://americanhistory.si.edu/presidency/home.html"&gt;http://americanhistory.si.edu/presidency/home.html&lt;/a&gt;), del Museo Nacional de Historia Americana. &lt;br /&gt;&lt;br /&gt; 2.	Haga que los estudiantes busquen en los Archivos del Bracero (&lt;a href="../../..//"&gt;braceroarchive.org&lt;/a&gt;) para que investiguen las condiciones de vida y de trabajo de los trabajadores del Programa Bracero. Haga que los estudiantes registren las fuentes que usaron y que tomen nota de cada uno de estos recursos. &lt;br /&gt;&lt;br /&gt;3.	Usando el resultado de su investigaci&amp;oacute;n, haga que los estudiantes discutan este tema: &amp;iquest;Los agricultores siguieron adelante con las leyes y las protecciones establecidas por estas leyes? &amp;iquest;Qu&amp;eacute; pruebas tiene usted para respaldar su conclusi&amp;oacute;n?&lt;br /&gt;&lt;br /&gt;&lt;a href="../../../Evaldocs-sp.pdf"&gt;Evaluacion:&lt;/a&gt;</text>
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                <text>Aprendiendo de Documentos</text>
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                <text>Los estudiantes deberán investigar dos leyes públicas y otras fuentes relacionadas con el programa de trabajadores Bracero. Aplicaran sus conocimientos y evaluaran si el programa fue llevado a cabo tal como fue previsto. </text>
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                <text>Anais Acosta</text>
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              <text>Los estudiantes examinarán una historia oral relacionada al programa de trabajadores bracero y presentarán su investigación en un mapa.</text>
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              <text>&lt;h2&gt;Trazando la ruta de un bracero&lt;/h2&gt;&#13;
&lt;p&gt;&lt;strong&gt;Resumen&lt;/strong&gt;: Los estudiantes examinaran una historia oral relacionada al programa de trabajadores bracero y presentaran su investigacion en un mapa.&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Objetivos:&lt;/strong&gt; Los estudiantes seran capaces de:&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;Describir aspectos del Programa Bracero, el cual existo desde 1942 hasta 1964.&lt;/li&gt;&#13;
&lt;li&gt;Usar fotografias como recurso principal. &lt;/li&gt;&#13;
&lt;li&gt;Seleccionar y usar apropiadamente un mapa de los Estados Unidos. &lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Nivel Escolar:&lt;/strong&gt; 6-8/9-12&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Centro Nacional de Estandares en Historia:&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;strong&gt;Estandares en Historia de Estados Unidos&lt;/strong&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Estandar 3C- El estudiante entendera los efectos de la Segunda Guerra Mundial en casa. &lt;/li&gt;&#13;
&lt;li&gt;Estandar 4A- El estudiante entendera el concepto de la "Segunda Reconstruccion" y sus avances en derechos civiles.&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;/li&gt;&#13;
&lt;li&gt;&lt;strong&gt;Estandares en Razonamiento Historico&lt;/strong&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt; Estandar 1. Razonamiento cronologico.&lt;/li&gt;&#13;
&lt;li&gt;Estandar 2. Entender la perspectiva historica.&lt;/li&gt;&#13;
&lt;li&gt;Estandar 3. Analisis historico e interpretacion.&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;/li&gt;&#13;
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              <text>Los estudiantes ser&amp;aacute;n capaces de:&lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Describir aspectos del Programa Bracero, el cual existi&amp;oacute; desde 1942 hasta 1964.&lt;/li&gt;&#13;
&lt;li&gt;Usar fotograf&amp;iacute;as como recurso principal.&lt;/li&gt;&#13;
&lt;li&gt;Seleccionar y usar apropiadamente un mapa de los Estados Unidos.&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>&lt;strong&gt;Est&amp;aacute;ndares en Historia de Estados Unidos&lt;/strong&gt; &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 3C- El estudiante entender&amp;aacute; los efectos de la Segunda Guerra Mundial en casa. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 4A- El estudiante entender&amp;aacute; el concepto de la &amp;ldquo;Segunda Reconstrucci&amp;oacute;n&amp;rdquo; y sus avances en derechos civiles. &lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Est&amp;aacute;ndares en Razonamiento Hist&amp;oacute;rico&lt;/strong&gt; &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 1. Razonamiento cronol&amp;oacute;gico. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 2- Entender la perspectiva hist&amp;oacute;rica. &lt;/li&gt;&#13;
&lt;li&gt;Est&amp;aacute;ndar 3.  An&amp;aacute;lisis hist&amp;oacute;rico e interpretaci&amp;oacute;n.&lt;/li&gt;&#13;
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              <text>&lt;ul&gt;&#13;
&lt;li&gt;Computadora con acceso a internet &lt;/li&gt;&#13;
&lt;li&gt;Impresora con papel &lt;/li&gt;&#13;
&lt;li&gt;L&amp;aacute;piz de color o marca textos &lt;/li&gt;&#13;
&lt;li&gt;Pluma o l&amp;aacute;piz &lt;/li&gt;&#13;
&lt;li&gt;Recurso principal: Entrevista con Juan Loza (&lt;a href="../../../items/show/175"&gt;http://braceroarchive.org/items/show/175&lt;/a&gt;)&lt;/li&gt;&#13;
&lt;/ul&gt;</text>
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              <text>1.	Haga que los estudiantes ingresen en l&amp;iacute;nea a la historia oral de Juan Loza en: &lt;a href="../../../items/show/175"&gt;http://braceroarchive.org/items/show/175&lt;/a&gt; (Los estudiantes hispano parlantes pueden o&amp;iacute;r la historia oral en espa&amp;ntilde;ol. Los estudiantes que no dominen el espa&amp;ntilde;ol pueden leer la transcripci&amp;oacute;n en ingl&amp;eacute;s). &lt;br /&gt;&lt;br /&gt; 2.	Haga que los estudiantes impriman la transcripci&amp;oacute;n en ingl&amp;eacute;s y que la lean. Pida a los estudiantes que subrayen con marca textos todas las secciones relacionadas al trabajo del Se&amp;ntilde;or Loza, identificando: &lt;br /&gt; Cada estado y pueblo donde &amp;eacute;l trabaj&amp;oacute;  Los cultivos que &amp;eacute;l cosech&amp;oacute;  Las fechas cuando se encontraba en esos lugares.   &lt;br /&gt;&lt;br /&gt;3.	Haga que los estudiantes visiten la p&amp;aacute;gina de: National Geographic&amp;rsquo;s Xpedition Atlas (&lt;a href="http://www.nationalgeographic.com/xpeditions/atlas/"&gt;http://www.nationalgeographic.com/xpeditions/atlas/&lt;/a&gt;) para seleccionar un mapa d&amp;oacute;nde graficar su investigaci&amp;oacute;n. &lt;strong&gt;Para un mayor desaf&amp;iacute;o t&amp;eacute;cnico&lt;/strong&gt;, considere pedirle a los estudiantes que utilicen los mapas personalizados en: Mapas de Google (&lt;a href="http://maps.google.com/"&gt;http://maps.google.com/&lt;/a&gt;) pasa as&amp;iacute; poder trazar su investigaci&amp;oacute;n electr&amp;oacute;nicamente.  &lt;br /&gt;&lt;br /&gt;4.	Haga que los estudiantes tracen los lugares donde el Se&amp;ntilde;or Loza trabaj&amp;oacute;. Para cada lugar, adem&amp;aacute;s deber&amp;aacute;n anotar los cultivos que &amp;eacute;l cosech&amp;oacute; en ese lugar y las fechas que &amp;eacute;l menciona en relaci&amp;oacute;n con ese lugar.  &lt;br /&gt;&lt;br /&gt;5.	Haga que los estudiantes conecten los lugares en sus mapas, indicando la direcci&amp;oacute;n del desplazamiento con flechas.    &lt;br /&gt;&lt;br /&gt;6.	Involucre a los estudiantes en una discusi&amp;oacute;n: &lt;br /&gt; &#13;
&lt;ul&gt;&#13;
&lt;li&gt;&amp;iquest;Por cu&amp;aacute;nto tiempo fue Juan Loza un trabajador bracero? &amp;iquest;Cu&amp;aacute;l fue el tiempo m&amp;aacute;s largo que pas&amp;oacute; en un solo lugar? &lt;/li&gt;&#13;
&lt;li&gt;&amp;iquest;En qu&amp;eacute; tipo de cultivos trabaj&amp;oacute; &amp;eacute;l? &lt;/li&gt;&#13;
&lt;li&gt;&amp;iquest;En cu&amp;aacute;ntos diferentes lugares estuvo &amp;eacute;l trabajando? &amp;iquest;Qu&amp;eacute; impacto piensas tu que tuvo en su vida social y familiar el haber estado trabajando en varios lugares? &lt;/li&gt;&#13;
&lt;li&gt;&amp;iquest;Por qu&amp;eacute; &amp;eacute;l no escogi&amp;oacute; un lugar y permaneci&amp;oacute; ah&amp;iacute;? &lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;br /&gt;&#13;
&lt;p&gt;Pida a los estudiantes que expresen algunos de los pensamientos que &amp;eacute;l pudo haber tenido sobre los lugares donde trabaj&amp;oacute;. &amp;iquest;C&amp;oacute;mo pudo &amp;eacute;l haber comparado los diferentes lugares? &amp;iquest;C&amp;oacute;mo pudo &amp;eacute;l haber respondido emocionalmente ante la &amp;iacute;ndole n&amp;oacute;mada de su trabajo?&lt;/p&gt;&#13;
&lt;p&gt;Para estudiantes con conocimientos hist&amp;oacute;ricos acerca del Programa Bracero, juzgue si Juan estaba mejor trabajando como bracero en Estados Unidos o qued&amp;aacute;ndose en su tierra natal.&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="../../../EvalBraceroroute-sp.pdf" target="_blank"&gt;Evaluacion:&lt;/a&gt;&lt;/p&gt;</text>
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