tag:blogger.com,1999:blog-38445661938453591442024-03-18T20:21:01.898-07:00NCPH 2011 Conference BlogPensacola, Florida
April 6 - 9, 2011Unknownnoreply@blogger.comBlogger43125tag:blogger.com,1999:blog-3844566193845359144.post-17980380427586204922011-04-15T06:31:00.000-07:002011-04-15T06:31:30.614-07:00Digital history: When a tool, when a toy?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqAmMKgzrGf_sXHZ9gEhiYLMBq3zSqlboLScPd8gq2UuDw0_BjViCN2LLoAETZlXQBDOVWUAQhVI1UaXtICznQ1R4oYu_BmDQ6GeVW9RuzyEf401RvugHJhC8fTJJyz1SnPhQshxKoX8B/s1600/cleveland-historicl.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="175" width="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikqAmMKgzrGf_sXHZ9gEhiYLMBq3zSqlboLScPd8gq2UuDw0_BjViCN2LLoAETZlXQBDOVWUAQhVI1UaXtICznQ1R4oYu_BmDQ6GeVW9RuzyEf401RvugHJhC8fTJJyz1SnPhQshxKoX8B/s200/cleveland-historicl.jpg" /></a></div>One of the items discussed at The Public Historian editorial meeting in Pensacola on Thursday, April 7th was the January 5, 2010 blog post "History museums in a wiki world." In her <a href="http://ncphoffthewall.blogspot.com/2011/01/history-museums-in-wiki-world.html">10th anniversary review</a> of Wikipedia's roles and potential for public history applications, Lori Byrd Phillips, a project leader for <a href="http://en.wikipedia.org/wiki/Wikipedia:WikiProject_Public_art">WikiProject Public Art</a>, describes current practices using the Wikipedia model and invokes <a href="http://chnm.gmu.edu/essays-on-history-new-media/essays/?essayid=42">Roy Rosenzweig's hopeful 2006 JAH essay</a>. Respondents to the post, including Steve Lubar at Brown, suggest the importance of retaining the signed curatorial statement. <br />
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Members of the TPH editorial board located several examples in which history (and art) museums - <a href="http://www.mocanyc.org/learn/timeline">Museum of the Chinese in America</a>, the <a href="http://americanhistory.si.edu/timeline/index.cfm">National Museum of American History at Smithsonian</a> and <a href="http://www.metmuseum.org/toah/">Metropolitan Museum of Art</a> have developed collections-based digital timelines & item descriptions, all with some degree of visitor responsiveness and interactivity. <br />
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A Friday afternoon conference session at Pensacola showcased a couple of projects that looked at digital media, public interaction and the delivery of program services. Michael Frisch from SUNY-Buffalo and Anne Conable from the Buffalo & Erie County Library presented work from a pilot program in public humanities that focused, first, on digitization of community-wide Depression era (1930s) collections from many institutions in the area and, second, on public access through inventive programming devices such as customized personal walking tours using the digitized materials and construction of public meeting formats structured around social<br />
history/human dimensions of policy issues such as government's role in the arts. The quality of the images showcased was wonderful - portraits of musicians at work from the Colored Musicians Union, exquisite puppets produced during the WPA, Science Museum collections most of us would never see. Mark Tebeau discussed the regional history vignettes (using oral histories, documentary footage, historic images, voice over narration) produced at <a href="http://csudigitalhumanities.org/category/public-digital-history/cleveland-historical-iphone-app/">Cleveland Historical</a> - a free mobile app developed by the <a href="http://csudigitalhumanities.org/">Center for Public History and Digital Humanities</a> at Cleveland State University - emphasizing, as Frisch and Conable had - the need to figure out one's audience; what do access and interactivity mean for them? Digitization is not useful if not connecting people to people. In Tebeau's view, mobile technology is an increasingly important tool in reaching audiences. <br />
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I am not doing justice to the content of the Buffalo and Cleveland images and oral histories in this brief discussion. However, both projects, along with a third quite different museum project at <a href="http://www.connerprairie.org/">Connor Prairie</a> that places visitors in the midst of a Civil War raid, grapple quite inventively with the issues of using digital technology to engage visitors and connect with them. These presenters have digitized with purpose and imagination - and a programming use in mind. To this end, they've created models well worth our collective attention. <br />
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~ Jo BlattiUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-42147079966394992262011-04-14T14:06:00.000-07:002011-04-14T14:06:53.317-07:00NCPH 2011 in the blogosphere<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Yi82TT4-mjiA6mB5f4e6r8ortk1h4FmTeT0R39v3RuMGilLzNB7jQNMon9SQyNNEzaBqz4wKbDvEXsERWvBKz7C_lJ9K76IwbiliclPjZzb7r0kywxqnFgRRhmchIWf87TG55I5aI6fh/s1600/blog_typescript_letters.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="199" width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9Yi82TT4-mjiA6mB5f4e6r8ortk1h4FmTeT0R39v3RuMGilLzNB7jQNMon9SQyNNEzaBqz4wKbDvEXsERWvBKz7C_lJ9K76IwbiliclPjZzb7r0kywxqnFgRRhmchIWf87TG55I5aI6fh/s200/blog_typescript_letters.jpg" /></a></div>Aside from the conference reports and reflections here in the conference blog itself, there's lots of commentary on Pensacola 2011 by other bloggers:<br />
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A <a href="http://www.lotfortynine.org/2011/04/ncph11/">positive review of NCPH's focus on digital history and a report</a> on "Constructing and Circulating Historical Narratives on Stamps" by <b>Sheila Brennan</b> of the <a href="http://chnm.gmu.edu/">Center for History and New Media</a><br />
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<b>Priya Chaya</b>'s two-part round-up for <a href="http://blog.preservationnation.org/">PreservationNation</a>, the National Trust for Historic Preservation's blog:<br />
<a href="http://blog.preservationnation.org/2011/04/11/preservation-round-up-public-history-edition-part-1/">Part I</a><br />
<a href="http://blog.preservationnation.org/2011/04/12/preservation-round-up-public-history-edition-part-2/">Part II</a><br />
and her more personal reflection on <a href="http://thisiswhatcomesnext.wordpress.com/2011/04/12/pursuing-pensacola-final-thoughts/">food and public history in Pensacola</a> (in which fried green tomatoes inevitably make an appearance)<br />
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<b>Debbie Doyle</b>'s posts for the <a href="http://blog.historians.org/">American Historical Association blog</a>:<br />
on the <a href="http://blog.historians.org/news/1307/ncph-meets-in-pensacola-report-from-the-public-plenary-on-the-coming-of-the-civil-war-sesquicentennial-and-public-history">public plenary with author Tony Hortwitz</a><br />
on <a href="http://blog.historians.org/news/1308/national-council-on-public-history-meeting--international-public-history">international public history</a><br />
and on the <a href="http://blog.historians.org/news/1307/ncph-meets-in-pensacola-report-from-the-public-plenary-on-the-coming-of-the-civil-war-sesquicentennial-and-public-history">Civil War sesquicentennial plenary</a><br />
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<b>Suzanne Fischer</b>'s <a href="http://publichistorian.wordpress.com/2011/04/06/thatcamp-ncph/">report on THATCamp NCPH </a>on her <a href="http://publichistorian.wordpress.com/">Public Historian</a> blog<br />
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<b>Leslie Madsen-Brooks</b>'s reflections on her <a href="http://doinghistory.com/">Doing History</a> blog about <a href="http://doinghistory.com/fee-for-service-issues-at-public-history-centers/">fee-for-service issues</a> at public<br />
history centers<br />
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<b>Nicole Moore</b>'s <a href="http://www.interpretingslavelife.com/?p=113">ruminations on the conference</a> on her <a href="http://www.interpretingslavelife.com/">Interpreting Slave Life</a> blogUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-89418898903273910872011-04-11T16:26:00.000-07:002011-04-11T16:26:50.497-07:00From blog to WordlePriya Chaya mentioned Wordle in the <a href="http://blog.preservationnation.org/2011/04/11/preservation-round-up-public-history-edition-part-1/">first installment of her post-conference wrap-up</a> today, and I can never resist playing around with Wordle. So here is a word cloud generated from the postings here in the conference blog over the past week (click on it to see the full-sized version):<br />
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<a href="http://www.wordle.net/show/wrdl/3448122/NCPH_2011_Conference_Word_Cloud"
title="Wordle: NCPH 2011 Conference Word Cloud"><img
src="http://www.wordle.net/thumb/wrdl/3448122/NCPH_2011_Conference_Word_Cloud"
alt="Wordle: NCPH 2011 Conference Word Cloud"
style="padding:4px;border:1px solid #ddd"></a><br />
<br />
Word clouds are seldom terribly deep, but they're fun!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-1317329024135058882011-04-11T05:04:00.000-07:002011-04-11T15:33:19.601-07:00Oh Freedom!: Roundtable on The Albany Movement<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 12"><meta name="Originator" content="Microsoft Word 12"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5Cjamesca3%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml"><link rel="themeData" href="file:///C:%5CDOCUME%7E1%5Cjamesca3%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx"><link rel="colorSchemeMapping" href="file:///C:%5CDOCUME%7E1%5Cjamesca3%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> 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mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal" style="font-family: georgia;"><span style="">Singing "Oh Freedom!," chair Brian Joyner of the National Park Service began the session with music in the tradition of civil rights meetings typical of the Albany Movement.<span style=""> </span>The importance of music to the Albany Movement continued as a theme in panelists’ answers to both Joyner’s and the audiences questions. After shortly describing this coalition of civil rights groups that challenged segregation in Albany, Georgia in 1961 and 1962, Joyner turned the session over to the roundtable discussion, asking questions about the Albany Movement both historically and as viewed and commemorated today. <o:p></o:p></span></p> <p class="MsoNormal" style="font-family: georgia;"><span style="">The roundtable worked particularly well for this session.<span style=""> </span>Panelists Jeanne Cyriaque of Georgia's Historic Preservation Division, Bill Austin of Dorchester Academy, and Marna Weston of the Samuel Proctor Oral History Program at the University of Florida ably answered<span style=""> </span>Joyner and the audience’s questions and the audience eagerly discussed the issues and, with other authorities on the topics in attendance, even answered some questions!<span style=""> </span>The session not only provided information about the Albany Movement, shedding light on its history and importance to the growth of the 1960s civil rights movement across the South, it also addressed some issues of particular interest to public historians, especially when thinking about race.<span style=""> </span><o:p></o:p></span></p> <p class="MsoNormal" style="font-family: georgia;"><span style="">Discussion about connecting with African American communities emphasized building relationships.<span style=""> </span>Marna Weston stressed the importance of long-term relationships and being patient; for instance, when he practicing oral history he gets to know the people he’s interviewing over a period of time, beginning by asking them questions about themselves.<span style=""> </span>Relationship-building also begins within institutions.<span style=""> </span>All panelists agreed that discussions about race with both colleagues and the community are hard but necessary.<span style=""> </span>When approaching such discussions, be sure to listen and remember that people are people first.<span style=""> </span>Through discussions and long-term relationships we can build collaborative efforts to create projects and programs that memorialize local events of particular significance to the African American community like the Albany Movement.<o:p></o:p></span></p> <p class="MsoNormal" style=""><span style=""><span style="font-family: georgia;">All panelists agreed that commemoration of local events and people is important.</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;">“People just want something,” Joyner said, and it is our job as public historians to make sure documentation is happening.</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;">We need to advocate even for simple recognition.</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;">For instance, while large projects like the National Register may be time-consuming or impossible for various reasons, we shouldn’t forget about other forms of commemoration like statues or state historic markers.</span><span style="font-family: georgia;"> </span><span style="font-family: georgia;">The roundtable’s discussion brought to light the importance not only of learning about issues like the Albany Movement and their connection to wider histories, but also building relationships and making sure to document and commemorate local stories in order to better serve our diverse communities.</span><o:p></o:p></span></p> Celia Jameshttp://www.blogger.com/profile/07138255381963526443noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-71391872087783347992011-04-10T17:41:00.000-07:002011-04-10T17:41:00.400-07:00Teaching the Practicum Course: A Discussion Regarding Best Practices<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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</style> <![endif]--> <div class="MsoNormal">Public historians’ most important skills cannot be learned by reading a book or listening to a lecture. In recognition of that, most public history programs require students to take at least one practicum course. Like an internship, a practicum course provides students with an opportunity to learn by praxis. It differs from an internship by enabling students to engage in dynamic, collaborative work under the guidance --indeed the sense of security—provided by a university course.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Perhaps because a practicum attempts to balance classroom learning and hands on experience, it is often difficult to find just the right ingredients for a satisfying and successful course. The National Council on Public History’s Curriculum and Training Committee is dedicated to working with public history educators to help establish useful guidelines for creating and running essential courses. Thus, on Friday morning, the committee sponsored a roundtable discussion on teaching the practicum course. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Session participants and audience members engaged in a lively and candid discussion that helped quantify the specific challenges of the teaching practicum. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The semester or quarter model for university can work against success in a practicum course for several reasons. First, students have been trained to believe the end of a semester is the exit point for a given learning experience. Most practicum experiences do not, however, fit neatly into a 9 week or 15 week session. Second, university professors are expected –even required—to craft a course syllabus that includes measurable goals and outcomes, establishes a calendar of readings and assignments, and identifies a clear class project. Yet, most practicum environments are fluid, requiring instructors to be flexible and class planning to remain open-ended.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Many practicum courses are based on partnerships with museums, preservation entities, historical societies and other external. On the one hand, these partnerships mean that students are engaged in real world work and they have the opportunity to develop relationships with professionals in the field. On the other hand, sometimes external partners define project parameters in ways that challenge public history educators and their more conservative colleagues to rethink the nature of scholarship and intellectual rigor. At its most basic level, this challenge means students are worried about how the class work will be counted and how they are assigned grades. At a more philosophical level, this challenge leads to another, pressing problem for public history educators.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The practicum courses are extremely labor intensive. They require instructors to build, nurture, and maintain partnerships; to become active participants in the learning process; and to carry on projects over the course of multiple semesters and multiple years. In departments that do not recognize collaborative work as scholarship or the maintenance of external relationships as departmental service, then, teaching practicum courses is often done in addition to meeting the terms of tenure and promotion. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Despite these daunting issues, session participants reinforced the idea that the practicum is a worthwhile and necessary educational tool. They identified several key ingredients that seem related to course success:</div><div class="MsoNormal"><br />
</div><div class="MsoListParagraphCxSpFirst" style="text-indent: -0.25in;"><span><span>1.<span style="font: 7pt "Times New Roman";"> </span></span></span>A well designed project that can be accomplished in finite pieces over several semesters.</div><div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><span><span>2.<span style="font: 7pt "Times New Roman";"> </span></span></span>A collegial partnership between like-minded individuals and complementary institutions</div><div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><span><span>3.<span style="font: 7pt "Times New Roman";"> </span></span></span>Applying reflexive practice to the classroom</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 1in; text-indent: -0.25in;"><span><span>a.<span style="font: 7pt "Times New Roman";"> </span></span></span>Requiring students to think critically and candidly about their work process</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 1in; text-indent: -0.25in;"><span><span>b.<span style="font: 7pt "Times New Roman";"> </span></span></span>Revising assignments and readings in response to student needs</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 1in; text-indent: -0.25in;"><span><span>c.<span style="font: 7pt "Times New Roman";"> </span></span></span>Working with external partners to revise project goals as necessary</div><div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><span><span>4.<span style="font: 7pt "Times New Roman";"> </span></span></span>Confronting departmental reluctance to recognize collaborative work as scholarly</div><div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><span><span>5.<span style="font: 7pt "Times New Roman";"> </span></span></span>Participating in conversations about the nature of intellectual work and the value of a multi-disciplinary, complex learning environment in shaping students’ approach to research and their disposition toward public engagement.</div><div class="MsoListParagraphCxSpMiddle" style="text-indent: -0.25in;"><span><span>6.<span style="font: 7pt "Times New Roman";"> </span></span></span>Educating colleagues about the labor required in designing and implementing public history courses and making sure that such courses are adequately accounted for in workload measurements</div><div class="MsoListParagraphCxSpLast" style="text-indent: -0.25in;"><span><span>7.<span style="font: 7pt "Times New Roman";"> </span></span></span>Capitalizing on departmental and institutional commitments to civic engagement, service learning, and/or social entrepreneurship to help legitimize practicum courses, student work, and collaboration</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This conversation is just beginning, and the summary in this blog entry is entirely my own. I likely have missed some issues that other session attendees believe are essential. My goal is to use this blog entry as the starting point for a longer and broader discussion about pedagogy, administration, and balance for public history educators. Please join me on the educators listserv or email me directly at <a href="mailto:ddm@umbc.edu">ddm@umbc.edu</a> if you are interested in taking the next steps for developing best practices guidelines for the practicum course.</div>Denise Meringolohttp://www.blogger.com/profile/15734956497053071671noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-19507262276642738942011-04-10T13:06:00.000-07:002011-04-10T13:06:51.859-07:00Enshrining heritage, contesting development?As I was blearily scanning the local free paper while waiting for my taxi to the airport at 5 a.m., my eye was caught by a report on the statistics about the residential demographics in Pensacola’s downtown. This is a part of the city that there has clearly seen heavy reinvestment in in recent years, much of it of the “culture-led” variety and most of it involving entities like the University of West Florida’s <a href="http://uwf.edu/history/publichistory.cfm">Public History program</a>, our host for the conference. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtU4KbWWPHNsfM30fskAl9co9WYzWugLZrRoQgPbuB15bRIBVD_uxKi95TY9tnx-eGPlp775vIUkzbYhij8lSRIdQWI7aJlvhL8ZvkfRcJMMh737RcM58LudJX-pUJbHefavN5HOwlPw2t/s1600/village2.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtU4KbWWPHNsfM30fskAl9co9WYzWugLZrRoQgPbuB15bRIBVD_uxKi95TY9tnx-eGPlp775vIUkzbYhij8lSRIdQWI7aJlvhL8ZvkfRcJMMh737RcM58LudJX-pUJbHefavN5HOwlPw2t/s320/village2.jpg" /></a></div><a href="http://www.historicpensacola.org/">Historic Pensacola Village</a> is in a ten- or twelve-block area of the downtown that combines the picturesqueness of a living history site with the consumer-centrism of a tourist town. It’s pretty, but rather eerily empty except when there’s some kind of organized group activity. Lawyers’ and realtors’ offices seem to dominate, with the usual scattering of galleries, boutiques, and restaurants. The “village” moniker seems contrived; this is very obviously a historic district that’s being asked to take a lead role in a redevelopment effort.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht2cV-RwTut48xE2sOXTQjjVN8UUpFeq7GZx4DRG4qUCc6d95X8UoxDsh_BZI5aQL0jVQQ04AIEZ-swCKswluY-0lriN1hclXcGgNXX9eMs3aBVU51I4tA7g0jPtvmPYJWqVtDsGWgT-7g/s1600/village3.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht2cV-RwTut48xE2sOXTQjjVN8UUpFeq7GZx4DRG4qUCc6d95X8UoxDsh_BZI5aQL0jVQQ04AIEZ-swCKswluY-0lriN1hclXcGgNXX9eMs3aBVU51I4tA7g0jPtvmPYJWqVtDsGWgT-7g/s320/village3.jpg" /></a></div>According to the director of the <a href="http://www.downtownpensacola.com/about/">Downtown Improvement Board</a>, writing in the free paper (<a href="www.downtowncrowd.com">Downtown Pensacola Crowd</a>, April 2011, p. 4), it has been relatively successful in doing that, despite the ongoing implosion of Florida’s real estate market and general economic woes. He points out that the new residents in the downtown skew slightly female (56%) and older (a third are retirees). Race was not mentioned, interestingly, but I feel pretty confident predicting that it would also skew white. 88% have been to college; a third have completed some grad school. Polled about their reasons for moving downtown, they mentioned convenience; proximity to the waterfront, cultural attractions, and restaurants; and walkability (although 87% do own cars). Ads and articles in the paper, and a few days of walking around the neighborhood, reveal a now-standard repertoire of strategies for encouraging this new population trend: performances and festivals (jazz, crawfish, wine, and <a href="http://en.wikipedia.org/wiki/Goombay">goombay</a>), open-air markets, and various other activities that turn the preserved and renovated historic environment into a space for recreation and consumption (for example, a cell-phone-powered <a href="http://www.elebashsdiamonddash.com/">treasure hunt</a> using neighborhood clues in search of a $10,000 diamond ring).<br />
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None of us likes to think that we’re a party to gentrification, but you know what, folks? This is what gentrification looks like, and there’s no getting around public history’s central role in helping it happen in Pensacola. At the two conference sessions focusing on gentrification and public history, which others have also blogged about <a href="http://ncph2011.blogspot.com/2011/04/public-history-and-urban-renewal.html">here</a>, the focus was on what we might do to counter the powerful push toward the upscale, the professional, the white, the middle-class. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDhmNi5DlocdrhdobJWuQMVJQ-9xLiTZa1Nxs4PaUvMLB2GX7X7GASvcYoj5TS-PA3ZwQulGeeYvS0N6qMIZggggzTkjVlyAJlSH0G0KrAMJB863O0UmLhjojxiH-O3ja9eb4ap040ANT/s1600/arche-site.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDhmNi5DlocdrhdobJWuQMVJQ-9xLiTZa1Nxs4PaUvMLB2GX7X7GASvcYoj5TS-PA3ZwQulGeeYvS0N6qMIZggggzTkjVlyAJlSH0G0KrAMJB863O0UmLhjojxiH-O3ja9eb4ap040ANT/s320/arche-site.jpg" /></a></div>One strategy, which I’m of two minds about, is to try to bring the processes of historic preservation and culture-led redevelopment themselves into the picture somehow. In <i>The Tourist</i>, his classic work of tourism theory, Dean MacCannell called this “enshrinement.” In MacCannell’s formulation, putting the mechanisms of heritage and preservation themselves on display—as the archaeology displays (above) around Historic Pensacola District do—actually enhances a place’s stature and appeal for visitors, thus furthering its transformation into a sacralized “must-see” destination for tourists. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKAds2BB0lkHglD9tlp0vZNdk9dxCYVmJOcOk6K5Oi6b8w9nq-wNtJafRIq_g32W7tqFKWsfW4Bz1qo0k1l9yW2LCrpaWjn1QByagrcMiw54-4VtLtnAeZtxbXEydDt9fqm5PJVtTSshs/s1600/hist-pensacola-panel.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKAds2BB0lkHglD9tlp0vZNdk9dxCYVmJOcOk6K5Oi6b8w9nq-wNtJafRIq_g32W7tqFKWsfW4Bz1qo0k1l9yW2LCrpaWjn1QByagrcMiw54-4VtLtnAeZtxbXEydDt9fqm5PJVtTSshs/s320/hist-pensacola-panel.jpg" /></a></div>I saw another instance of “enshrinement” in the headquarters of West Florida Historic Preservation, Inc., where an exhibit about the redevelopment of the downtown area has been put on permanent display after its run at the nearby Florida State Museum. This takes more of a public history approach, historicizing the choices and dilemmas faced by those seeking to reverse the area’s architectural and economic decline. The panels pose sharp questions and invite real reflection, potentially challenging the standard urban narrative of decline and rehabilitation.<br />
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But…its potential is limited by its location, and the fact that it’s now likely to be seen only by those already within the same demographic stratum that the redevelopment project overall is trying to attract (professionals, museum-goers, public historians and archaeologists themselves). How might we move these critical conversations into other venues and connect them with discussions about housing, jobs, environmental responsibility, and other pressing issues? In other words, how might we introduce a bit of needed grit into the redevelopment machine to buy some time for more widespread reevaluation of what it does?Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3844566193845359144.post-85678097758356917632011-04-09T20:40:00.000-07:002011-04-10T07:40:39.484-07:00History, the National Park Service, and the Public GoodI have waited until the conference was over to add my reflections to this blog, partly because I was not sure what to focus on. Plus, the conference was so busy! Now, relaxing in my room overlooking the highway flyovers the dominate parts of the Pensacola downtown landscape, I would like to pull together some insights before heading out to the beach for a few hours.<div><br /></div><div>This year's meeting felt like a conference within a conference, as a majority of my time was consumed with conversations that relate in some way to the large three-year study I'm working on with colleagues Marla Miller (UMass-Amherst), Dave Thelen (Indiana University), and Gary Nash (UCLA) on the "state of history in the National Park Service." The project, originally conceived by former NPS Chief Historian Dwight Pitcaithley and carried forward by current Chief Historian Bob Sutton, is co-sponsored by the Organization of American Historians.</div><div><br /></div><div>The project started in 2008 and has involved a large survey of NPS personnel working in and around history, dozens of conversations with current and former NPS employees and interested scholars outside the agency, and site visits to a number of parks and offices. We've met with top NPS leadership, including Director Jon Jarvis, and have conducted focus groups at NCPH meetings, OAH meetings, and the National Association of Interpretation meeting. The aim is to produce a survey of current practice and recommendations for the revitalization of history in the agency; a final report is due August 1. </div><div><br /></div><div>As I'd expected, this NCPH meeting proved a productive time for getting some final input from many quarters. On Thursday, Marla and I conducted a session dedicated to discussion of our preliminary findings with about 40 people, many of whom have given input ever since we began. On Friday, Marla met with a about a dozen NPS historians, and on Saturday, we heard an inspiring talk in which the new NPS Associate Director for Cultural Resources, Stephanie Toothman, detailed her vision. We spent the rest of the meeting, it seemed, huddled in one corner or another having one-on-one conversations with NPS staff members or contractors we'd planned to meet. </div><div><br /></div><div>What was somewhat unexpected was how well several sessions that were completely unconnected to our project fed us some fantastic ideas, information and insights. Let me share a few:</div><div><br /></div><div>At a session on Thursday on "Integrating History into Landscape-Level Conservation Initiatives," three speakers (Catherine Moore from <a href="http://www.npca.org/">National Parks Conservation Association</a>, Rachel Kline from <a href="http://www.fs.fed.us/enterprise/about/eu/heritage-stewardship-group.shtml">Heritage Stewardship Group</a> USDA Forest Service Enterprise Unit, and Alexandra Wallace from <a href="http://www.cemml.colostate.edu/">Colorado State's Center for Environmental Management of Military Lands</a>) presented creative ideas for how history work done to fulfill the mandates of either natural resources conservation or federal historic preservation legislation can be repurposed to provide interpretive and educational historical outreach to public audiences. </div><div><br /></div><div>Moore, for instance, gave examples of how thee parks, Rocky Mountain, Lake Clark, and Timucuan, have used an expansive and integrated definition of history that encompasses environmental history to both conserve and interpret. At Rocky Mountain, the nomination of <a href="http://www.nps.gov/romo/planyourvisit/longspeak.htm">East Longs Peak Trail</a> to the National Register produced historical research and an oral history collection that the park has also used in wayside and museum interpretation. And at Lake Clark National Park and Preserve in Alaska, created in 1980, a mandate to conserve park lands historically used for subsistence has undergirded substantial research into the historical connections of people to the land in the park area, including oral histories with Dena'ina elders about the <a href="http://www.nps.gov/lacl/historyculture/telaquana-trail.htm">Telaquana Trail</a> area. In a cooperative arrangement with the University of Alaska, the park has posted many of those oral histories online.</div><div><br /></div><div>Efforts within the Department of Defense and the U.S. Forest Service to similarly mobilize compliance-related (Section 106, Section 110) work for educational purposes also provide inspiration for how NPS might address the key challenge of bridging the divide between cultural resources management and interpretation. This divide, our team has observed, hobbles the agency from making the most of the prodigious and often excellent historical research it sponsors. </div><div><br /></div><div>Another NPS-related session on writing park (or forest!) administrative histories made a similar point. As described by the panelists (<a href="http://ncph2011.blogspot.com/2011/03/roundtable-on-administrative-histories.html">who have posted information about their session here</a>), administrative histories need not be the boring documents many may imagine. Although their initial audiences are park staff who need to understand how a park (or in some cases a particular problem, like fires or grazing) has been managed over time, the panelists described ways to widen the reach of these studies. </div><div><br /></div><div>Independent consultant Joan Zenzen, who has written four administrative histories, has published several of them with university presses (<a href="http://www.psupress.org/books/titles/0-271-01721-X.html">Battling for Manassas</a>, <a href="http://www.psupress.org/books/titles/0-271-01721-X.html">Fort Stanwix</a>). Forest Service Chief Historian Lincoln Bramwell described translating content from a lengthy administrative history into an electronic presentation with interactive timelines that allowed users to see both chronologies and thematic changes. (I wish he'd demonstrated this!). </div><div><br /></div><div>Most interesting to me were insights offered by Temple University historian Seth Bruggeman (see <a href="http://www.ugapress.org/index.php/books/here_george_washington_was_born/">Here, George Washington Was Born</a>) and OAH Public History director Susan Ferentinos (who has managed about 15 administrative history projects done for NPS under the OAH cooperative agreement, including one I co-authored with my husband David Whisnant, <a href="http://www.nps.gov/history/history/online_books/deso/deso_admin.pdf">Small Park, Large Issues: DeSoto National Memorial and the Commemoration of a Difficult History</a>). </div><div><br /></div><div>Bruggeman and Ferentinos observed that administrative histories often trace parks' struggles with evolving historical memory about people or events, changing notions of what is important in the past, and the National Park Service's own role as agent and history-maker. They offer, therefore, golden opportunities for parks to develop "self-reflexive" interpretation -- interpretation that recognizes and transparently acknowledges the agency of the interpreter in creating the story. </div><div><br /></div><div>This approach could be fruitful at many sites where, by now, park service interpretation is old enough to have changed many times over. Certainly it would have been a creative way to re-interpret De Soto National Memorial, which itself is a product of a certain moment in De Soto historiography, now more or less discredited. (Some of those issues are described <a href="http://www.nationalparkstraveler.com/2008/03/park-history-de-soto-national-memorial">here</a>.)</div><div><br /></div><div>The panelists suggested that talking about how histories presented in parks have changed, and why, could provide visitors a window into how history works, and how the Park Service has both shaped and been shaped by history. Unfortunately, since, as Chief Historian Bob Sutton noted, there is presently no central dedicated funding for park administrative histories and no requirement that they be done, this process may proceed unevenly and slowly.</div><div><br /></div><div>Finally, speaking of funding, yesterday afternoon I attended a screening of a new film on the WPA Federal Writers Project, which produced, among other things, the WPA state guides. The film, Spark Media's "<a href="http://www.sparkmedia.org/ht/d/ContentDetails/i/3204/TPL/Vault/pid/4521#">Soul of a People: Writing America's Story</a>," described the evolution, productivity, problems, and ultimate demise of the program between about 1935 and 1943. Authors including Zora Neale Hurston, Richard Wright, Ralph Ellison, and Studs Terkel worked for the program. Its interviews of former slaves produced an unparalleled archive of oral histories. </div><div><br /></div><div>Yet, the film described how this creative program, whose cost as a percentage of the entire WPA was miniscule, was attacked and killed by right-wing opposition led by Texas Congressman Martin Dies, who led the House Un-American Activities Committee in the 30s and accused the Writer's Project of harboring communists. </div><div><br /></div><div>Watching this film while considering the state of history in the National Park Service and observing the ongoing ideological battles dominating the budget negotiations in Washington, I felt profoundly sad. The combination of history and nature that the National Parks gives us feeds our souls, elevates our understanding, promotes thoughtful civic engagement, and costs us relatively little. Yet prospects for expansion of funding for the parks seem dim, and the very idea of the "public good" that they serve seems under attack. I leave this conference hoping that the optimistic, publicly committed spirit that is the core of public history work and that was on display here all week will ultimately prevail in our national discourse.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>Anne Mitchell Whisnanthttp://www.blogger.com/profile/17849350010244493452noreply@blogger.com1tag:blogger.com,1999:blog-3844566193845359144.post-86108499986136325092011-04-09T19:49:00.000-07:002011-04-09T19:49:29.521-07:00Baiting the hook: Tony Horwitz on his relationship to the history profession<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZWMynoy_ANnMnxN2U9YVzuu6r5IJOc1GbvStVatSZPTtUr_9QYVMIeGWKxLjsd7vUHuKK9MvE0zm06JVD4tTCLSWSniq1wJT9o9LnUCjeCepfWvezwBlyKaHS1zgq_4Dj2F9GUhwVyWB/s1600/horwitz.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZWMynoy_ANnMnxN2U9YVzuu6r5IJOc1GbvStVatSZPTtUr_9QYVMIeGWKxLjsd7vUHuKK9MvE0zm06JVD4tTCLSWSniq1wJT9o9LnUCjeCepfWvezwBlyKaHS1zgq_4Dj2F9GUhwVyWB/s320/horwitz.jpg" /></a></div>Pulitzer-prize-winning journalist-turned-author Tony Horwitz was the featured speaker at Saturday’s public plenary session, held at the Pensacola Little Theater in Historic Pensacola Village. Horwitz spoke about the usefulness of the journalistic fact-checking habit when doing historical research, the freedom that he enjoys in choosing and pursuing the subjects he writes about, and the nagging sense of guilt that comes from making use of the scholarly work of others in his own best-selling works. <a href="http://www.nytimes.com/2009/12/02/opinion/02horwitz.html">His next book</a>, an investigation of the 1859 raid on Harper’s Ferry, Virginia by John Brown and others, poses the question, “When, if ever, does the individual have the right to commit violence and defy the state?”<br />
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Horwitz was refreshingly candid about his own fears that he’s oversimplifying history in his efforts to tell a story that will “hook” readers and make them want to read more. While he’s an undeniably good storyteller, I do find him a little too willing to emphasize the colorful at the expense of the truly complex; his characterizations of Civil War reenactors in his best-known work, <i><a href="http://www.tonyhorwitz.com/books/confederates-in-the-attic.php">Confederates in the Attic: Dispatches from the Unfinished Civil War</a></i>, sensationalize a complex community in ways that I’ve always found troubling. Both journalism and scholarly writing have their own straitjackets that can keep us from finding more original paths through a subject as we write about it, and while I think Horwitz is right to note that scholars can’t usually bust out of their constraints, he also still seems bound by his own—the “lead, “hook,” “kicker” pattern that becomes second nature in journalistic writing. It was good to hear him talk about the importance of communicating “the strangeness of the past,” but that strangeness sometimes demands forms that are themselves strange and new—a challenge to all of us who labor with words and stories.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3844566193845359144.post-50114867677745388162011-04-09T12:04:00.000-07:002011-04-09T12:04:17.026-07:00Poster Session Award WinnersThe annual poster session provides an important opportunity for graduate students to interact with practitioners, professors, and peers. This year, the 27 posters on display showed public history gradate students actively engaged in research that connects the study of history to contemporary issues and initiatives at the local, state, and even federal level.<br />
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This year, for the first time, we introduced a level of friendly competition into the event. We hope that the promise of broader recognition will entice more students to participate and attract more people to the session.<br />
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Eighty-Seven conference attendees cast votes for the three posters they believed had earned special recognition. While voting patterns indicated that all of the session presenters had made important contributions to the field of public history, three posters were clear favorites:<br />
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In third place, "Restoration Invasion: The Yankee Re-creation of the Southern Plantation" by Jennifer Betsworth, University of South Carolina, explored the ways in which wealthy northerners participated in shaping the popular memory of slavery by purchasing and restoring plantations.<br />
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In second place, "Localizing the Kids' Meal: Using History to Preserve Regional Food Culture" by Chanda M. Nunez, and Kristin Wanek, University of New Orleans, explored relationships among race, gender, region and food.<br />
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The winning poster, "Interpreting the Lives of People of Color at Arlington House" described work by American University's Alexandra Lane, Katrina Lashley, and Will Tchakirides to integrate the interpretive programming and popular memory at Arlington House.<br />
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Please congratulate these students if you run into them at the conference. We'd also like your feedback: What do you think about transforming the poster session into a competition?<br />
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<pre></pre>Denise Meringolohttp://www.blogger.com/profile/15734956497053071671noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-39333271904999766812011-04-09T09:08:00.001-07:002011-04-09T09:49:20.303-07:00Reflecting on "From Black Slaves to Blue Angels" Field TripThe subject matter of the field trip, "From Black Slaves to Blue Angels: Exploring NAS Pensacola" interested me for a few reasons, one being a "Navy brat" who has long since lost her dependent status, it was an opportunity to be on old stomping grounds. The other and more lasting reason I was interested in this particular trip was that there was a connection with how slave labor was utilized by our government to build Naval Yard at the air station. Unfortunately, our expert on slave life was unable to join us on the trip and we did not get that in depth conversation on how the slaves truly shaped the base. But our guide at Fort Barrancas, David Ogden was beyond knowledgeable (as NPS guides usually are)about the structure of the fort, it's history and he even managed to talk about how these 6 million or so bricks were crafted by and put in place by these slaves.<br /><br />Not only that, but while the fort was being built, there was not a massive amount of slave labor present, only about 60 at a time. The amount of time that the slaves put into the brickwork on the fort almost forces one to look past the fact that these men were slaves and look at them as an artisan, especially when cutting the bricks to fit into the arches just so. The attention to detail and recognizing the effort that the slaves had to put into the construction of this fort and quite honestly, any building constructed during the period of slavery makes me wonder how could anyone want to hide this portion of our history?<br /><br />Leaving Fort Barrancas, we headed over to the very overwhelming Naval Aviation Museum. I grew up admiring the Blue Angels and to see some of the planes there was breath taking, as well as a little scary. I was walking around looking up at the planes above and suddenly, it hit me. I know that these planes are secured to their tethers and that they are NOT coming down but the random thought that they could come down was comically paralyzing. As I tiptoed from underneath the aircraft, it gave me the opportunity to look at the detail of the planes and realize that for years our military has depended on these machines to complete missions and protect our country.<br /><br />Overall, wonderful trip with the most knowledgeable guides in Tim and Nancy and if ever I am in Pensacola again I would return to NAS Pensacola to dig a little deeper into their history.nicolehttp://www.blogger.com/profile/13724185896844300824noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-91980279201708627292011-04-08T20:50:00.000-07:002011-04-08T21:43:00.869-07:00History That Is Difficult to DoI can't believe its already the end of the day on Friday--and while today began, oddly enough, with Pensacola in a fog bank, it was filled with sessions that tried to see <span style="font-style: italic;">through the fog</span>. I for one, enjoyed the 81 degree heat and humidity (ask me again come August in DC if I feel the same), mostly because it enticed me to get more ice cream from <a href="http://www.facebook.com/pages/Dolce-Pensacola-221-East-Zaragoza-Pensacola-Florida-32502/136457949743681"><span class="blsp-spelling-error" id="SPELLING_ERROR_0">Dolce</span></a>! without the need of secondary layers.<br /><br />I started out the day looking at the confluence of place, race, and leisure before heading over to the panel on European Public History that Eleanor <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Mahoney</span> talked about below. Both very good sessions with some important questions about the field and the past.<br /><br />My final panel was a session discussing the act of collecting objects centered around difficult subject matter. While each of the presentations varied in detail, each presenter (one who spoke about her work at the National Law Enforcement Museum, another dealing with collecting for sweatshops, and a third looking at collecting objects dealing with illegal immigration and drug trafficking) depicted a public history question mired in complexity, one with no single right answer. More specifically--why collect these histories--and how do you go about doing so in the easiest way?<br /><br />Here are a few of the take-aways:<br />1. Be careful, and conscious of the external and internal politics you may be dealing with. Be open and engage all the players in the beginning so that you are not the only one taking the risk.<br /><br />2. Recognize that even though these issues are one's that <span style="font-style: italic;">should</span> be dealt with, the public may not be ready to acknowledge them. That there is a difference between putting an object into the collection, and putting it on exhibit.<br /><br />3. "<span class="blsp-spelling-error" id="SPELLING_ERROR_2">Somebody's</span> Mayflower." Each object you pick up tells the story of an individual--that (and the phrase in reference to an object of illegal immigration) that each object has value within that larger narrative, but also serves as an entry point into individual stories and individual lives.<br /><br />In the end, the commentator stated that it isn't necessarily that the subject matter is difficult, but also that in the case of these three situations, this is history which is difficult to <span style="font-style: italic;">do. </span>That it does take more than just knowing what objects may work with what story.<br /><br />I think I found this panel to be fantastic on many levels. On one hand each of the case studies emphasized the importance of relationships in having a successful acquisition trip. Make phone calls, eat breakfast, play basketball--you never know when you will develop sufficient TRUST to give you that piece you never knew existed. I also thought that it underscored the lessons learned from the culture wars in the 1990s. That in collecting the "tough stuff" of American history, we are playing the role of stewards to a particular American vision--and that being mindful of that vision is incredibly important to our actions and reactions in the field.<br /><br />Note: Learn more about my experience at <a href="http://thisiswhatcomesnext.wordpress.com/2011/04/07/ncph-2011-shared-authority-creating-a-commons-another-day-at-that-camp/"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">THATCamp</span></a> and the<a href="http://blog.preservationnation.org/2011/04/08/ncph-2011-a-public-history-spring-break/"> first day of the conference </a>on the <span class="blsp-spelling-error" id="SPELLING_ERROR_4">PreservationNation</span>.org blog. You can follow me on Twitter @<span class="blsp-spelling-error" id="SPELLING_ERROR_5">pc</span>_<span class="blsp-spelling-error" id="SPELLING_ERROR_6">presnation</span>.Priyahttp://www.blogger.com/profile/06328733748609111069noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-37584350692522685032011-04-08T19:39:00.000-07:002011-04-08T20:58:06.425-07:00Public History and Urban Renewal: Legacies and Responsibilities<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> 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priority="73" semihidden="false" unhidewhenused="false" name="Colorful Grid Accent 6"> <w:lsdexception locked="false" priority="19" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal">In its heyday in the United States, urban renewal helped spur the creation of social justice movements and historic preservation. As public historians understand the effects of this period and seek to explain it to the public, we may also be playing a role in current urban renewal efforts – particularly preservationists. The presenters in the <i style="">There Goes the Neighborhood: Public History and Urban Renewal Then and Now in Montreal, Quebec; Derry, Northern Ireland; and Lowell, Massachusetts</i> roundtable brought these issues to the fore, and spurred a very successful discussion about the problems and meaning of urban renewal efforts throughout the country. </p> <p class="MsoNormal">Within a few minutes of brainstorming, the group had filled the dry erase boards of the conference room with examples of the results of urban renewal: the branding of preservation as obstructionist, the erasure of memories, gentrification and displacement, and nostalgia for a true or imagined past to name only a few. All of these themes were evident in the case studies presented by Cathy Stanton and Margo Shea. Though Derry and Lowell are quite different, they both showed the promise and politics of urban renewal. In each case, new development was touted as the promise for decades of social problems but in each the question of whether these efforts had made a better community – and if so, for whom - remained.</p> <p class="MsoNormal">To conclude, focus was drawn specifically to what public historians can do to ameliorate or avoid in new projects those that are evident in older ones. Perhaps one of the more intriguing ideas suggested was to bring the local and regional history we present as close to the present as possible or politically feasible. Helping people in our communities understand the reasoning behind the built environment that they experience may help foster critical thinking about proposed or current changes. Also, it is essential to make and use community connections to bring more voices to the tables where decisions about the future of cities are made. The group dynamic of the roundtable was excellent, and I am looking forward to participating in more sessions in the future.</p>Jennifer Betsworthhttp://www.blogger.com/profile/13873796075141150457noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-38186225795775320632011-04-08T15:33:00.000-07:002011-04-08T15:36:40.747-07:00What Can Students Learn from How We Administer Public History Centers?At the conference halfway point, with the federal shutdown still looming, I am struck by a few characteristics we public historians all seem to have in common despite the great diversity of our work and professional positions. We’re a creative, resilient, and pragmatic bunch of folks. In nearly every gathering, formal and informal, I’ve noticed that my peers have learned to do good work without adequate funding, without unequivocal support within their academic departments or communities, and with a firm commitment to face and address the ethical quandaries that affect our many “publics.” At yesterday’s working group, “Using Centers to Teach Public History and Engage Community Partners,” I had the privilege to commiserate with and take inspiration from my peers at other universities. The responsibility to train students who are preparing to work as public history professionals is a core goal for those of us working in and running public history centers. So how do we provide not just service-learning, but a higher level of professional experience for students that helps them learn from both our mistakes and our triumphs in the face of adversity? Allowing students to see and participate in solving administrative challenges surely is just as important as honing their research and project management skills. Ultimately, some among our students will take over and run similar centers. Ann McCleary at University of West Georgia has learned to bring advanced graduate students into the administrative fold, which eases her workload and exposes those students to management experience. With her example, I’ve resolved to make a greater effort to include our graduate students in center management. For starters, they can help us document our experience and implement a records management policy that preserves the administrative history of our center’s work. This is also an important part of preserving our institutional legacy at our university after the current cadre has moved on. In addition to a body of historical work, hopefully we will have done what we can to document our experiences and make it transparent to future faculty members, students, and administrators.Maren Bzdekhttp://www.blogger.com/profile/17430622943539142997noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-91217629930098707462011-04-08T14:47:00.000-07:002022-10-24T08:27:17.227-07:00Stealth Collecting the PastOld Christ Church. Friday afternoon. <div><br /></div><div>With a nod to Elaine Gurian, panel commentator James Gardner introduced the session "Remembering the Bad Times: Collecting the Material Culture of Difficult Subjects" by bringing up an idea: that "museums should be safe places for unsafe ideas." He followed by commenting on the need for museums to challenge visitors and move beyond being what they often are: "safe places for safe ideas."</div><div><br /></div><div>Panelists dealt with the complications of collecting material culture objects related to histories of undocumented immigration, high-stakes underground borderland economies, <a href="http://americanhistory.si.edu/sweatshops/">sweatshops</a> and police brutality. In many cases, collecting objects that tell these stories are not easily acquired. Panelists, for example, noted the difficulty in acquiring objects and the need to work with federal agencies in building trust to acquire artifacts that might help document hard-to-tell narratives. On the other hand, as one panelist noted, when your artifact repository is your own garage, sometimes collecting is as easy as pulling off the road, and opening one's mind to what objects might be worthy of collection -- such as empty milk cartons used as flotation devices by Mexicans heading for the U.S.</div><div><br /></div><div>The three panelists each described collecting objects that tell "unsafe" stories -- even if those objects haven't yet reached the point of being exhibited or interpreted-- as was the case for Laurie Baty, formerly of the <a href="http://www.nleomf.com/museum/">National Law Enforcement Museum</a>. At the NLEM, Baty discussed how collecting objects related to the 1992 L.A. Riots --such as a melted parking meter-- was not looked on kindly (no doubt because the Riots were the flames fanned from the spark of the infamous Rodney King court decision). </div><div><br /></div><div>In such climates, some curators have taken to what panelists and audience members alike began referring to as "stealth collecting," that is, collecting potentially contentious artifacts that may not be slated for exhibit or interpretation. </div><div><br /></div><div>Larger themes emerged regarding how complicated and difficult stories can be told even when they are not widely embraced by the public. What should one collect when boards, partners, donors, etc. have an interest to honor a particular point of view? What are the risks of collecting "unsafe" objects that "remember the bad times" especially given ways that internal and external politics affect historians and the institutions they serve? </div><div><br /></div><div><i>Posted by Amy Tyson & Brent Nunn</i></div><div><br /></div>Amy Tysonhttp://www.blogger.com/profile/02726830256753066013noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-49387720834888644502011-04-08T10:31:00.000-07:002011-04-08T10:42:50.770-07:00European Approaches to Public History Session Generates Interesting Discussion, DebateFriday morning's session "European Approaches to Public History: Identifying Common Needs and Practices," generated a lively discussion among participants and attendees. Some of the more engaging questions centered upon the absence of "politics" as a primary theme [or even a point of discussion] at this year's <span id="SPELLING_ERROR_0" class="blsp-spelling-error">NCPH</span> conference. From the presenters' perspective, politics can never be separated from the practice of public history in Europe, while it seemed to be missing or at least go largely unmentioned from many U.S. centric conference panels. In hearing this discussion, I wondered if perhaps one reason [among many] for this <span id="SPELLING_ERROR_1" class="blsp-spelling-corrected">difference</span> is the funding sources that underpin public history in Europe and the United States. In Europe, the overwhelming majority of funding is public [local, region, national, European] while in the United States, funding comes from a variety of sources, including foundations, individual donors, corporations, universities and government - though this is declining with each year. Perhaps the dependence on government for funding in Europe more directly inserts politics into the discussion and perhaps not. I'd be interested to hear what others think about this question.Anonymousnoreply@blogger.com4tag:blogger.com,1999:blog-3844566193845359144.post-17798741524575127922011-04-08T08:27:00.000-07:002011-04-08T12:07:36.363-07:00Expanding Civil War commemorationThursday night’s Public Plenary on “The Coming of the Civil War Sesquicentennial and Public History” was a fascinating look at the contested history and memory of the Civil War.<span style=""> </span>As Michael Allen, from Ft. Sumter, National Monument put it, “the Civil War is deep in the psyche of Americans” and as such, it is important that we discuss why and how to commemorate the war.<span style=""> </span>The panel discussed an array of issues surrounding Civil War commemoration including: how to discuss the cause of the war, the home front and the divisions and bonds that existed in communities throughout the war, how to bring together various communities to tell these stories and finally, the history of battlefield preservation.<span style=""> </span></p><p class="MsoNormal">This was a fascinating discussion and the questions from the audience shed light on even more possible ways to look at the war and more audiences to reach out to.<span style=""> </span>Most intriguing, someone asked about the possibility of reaching out to new immigrants to the United States and how to make this “their story” as well.<span style=""> </span>These panels and the discussions that result from them show the conscious effort that many historic sites and museums are making to include the voices and experiences of all who were affected by the war: black, white, men, women and children.<span style=""> </span>In addition, there is an effort to reach all Americans through commemoration activities, making it clear that the Civil War and its legacy is relevant to all Americans. <span style=""> </span></p><p class="MsoNormal">One area that is less discussed and was not covered by the panel was commemoration in places that are not traditionally associated with the war, such as the West.<span style=""> </span>While places like California played a significant role in the lead up to the war and raised money and troops for the war, it is generally forgotten in narratives of the war.<span style=""> </span>Part of this of course, does have to do with the fact that it is so geographically removed from the battlefields.<span style=""> </span>Those of us in the West should make an effort to ensure that our role in the war is not forgotten.<span style=""> </span>Hopefully as commemoration events begin this weekend, the war will be remembered as a truly national event.</p>Michelle Antenessehttp://www.blogger.com/profile/06933591969974263015noreply@blogger.com1tag:blogger.com,1999:blog-3844566193845359144.post-63504074481841959432011-04-08T07:33:00.001-07:002011-04-08T07:35:13.049-07:00Pilot Service Project: Success !On Wednesday, April 6, 2011, a group of volunteers from the National Council on Public History traveled to Fort Pickens to assist the National Park Service (NPS) with a cleanup project. Led by Ranger Stanley Lawhead, the volunteers began working to help beautify the site. The volunteers swept the walking path, moved brush and dug out a historic reverse brick arch. Within the fort, a twenty foot hill rises from the landscape. The Battery of Pensacola is housed within the mound. Decades of growth resulted in a large patch of shrubs and bushes. Unfortunately, the roots of the shrubs engulfed and began damaging the entrance to the battery. As NPS employees worked with power tools to cut through the brush, NCPH volunteers followed behind with pitches forks and rakes, moving the brush and smoothing the landscape. Once cleared, the NPS will plant grass on the hill to help preserve the Battery of Pensacola. The design of Fort Pickens features multiple overhead and reverse brick arches. Years ago, the NPS excavated one of the reverse brick arches for interpretation. In 2004, Hurricane Ivan tore through the Gulf Coast, and slammed Fort Pickens. During the storm, winds carried sand and buried the excavated arches. The NPS has been unable to dig out the arch since the storm in 2004. The group of NCPH volunteers works vigorously and successfully uncovered the reverse brick arch. The finest moment of the day occurred as the NCPH volunteers were finishing the project by sweeping off the small amount of sand that remained on the reverse arch. As they swept, a NPS park ranger arrived at the arch with his tour group. The ranger was unaware of the volunteers and the project. As he approached the arch, his face lit up. He turned to his group and exclaimed how wonderful it was to see the reverse arch. This ranger began working at Fort Pickens after Hurricane Ivan. For the seven years he worked at the fort, he had not seen the reverse arch. The 2011 NCPH volunteer project was a great success! Throughout the project, park rangers expressed their gratitude. Upon completing the project, Ranger Lawhead thanked each volunteer for giving their time and effort to help.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-76326796387443213912011-04-08T05:47:00.000-07:002011-04-08T05:51:01.805-07:00Fractured Communities?Yesterday, I attended a great session on public history and teaching in the classroom. The panelists spoke about using public history as a teaching tool for both K-12 students and undergraduate college students. One presenter, Cynthia Wallace-Casey, used the television show The Sopranos to illustrate her point about history’s “truth:” who do you believe? Your teacher? Your textbook? Your parents? In this current era of budget cuts, emphasis on standardized testing, and lack of institutional support for field trips, it is important for history educators and those of us that work to get our collections/historic houses used in history education to point out other benefits of a history education. Although important, learning history should not be just memorizing facts and dates. Students that practice history also learn how to question, use evidence to draw conclusions, and explain the significance of events in the past. This type of critical thinking can be applied to all subjects that a student is expected to learn. Yet the thing that resonated the most with me was the commentary on the papers. One presenter in particular, Kim Sebold from the University of Main and Presque Isle, spoke about her undergraduate history projects and the way those projects engaged and assisted the community around the university. Public historians have long touted history’s ability to bring together communities and give people a sense of shared history and belonging. A review of some of the titles of the sessions at this conference give that idea: “A Storied Community,” “Acting Locally: Making Critical Connections between Nearby and Faraway History,” and a working group on engaging community partners. But what happens when public history does not create a sense of community? What happens if the stories told in museums, historic sites, or classrooms create a sense of isolation? What happens if telling stories of “contested” or “controversial” history further fractures a community? A sense of community does not necessarily follow an understanding of history. Recognizing this potential for history to further divide or alienate people should discussed during planning for a public history project. Don’t forget the power of history—good and bad.Rebekah Dobraskohttp://www.blogger.com/profile/02559255957431484649noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-21372028628954522922011-04-07T21:16:00.001-07:002011-04-07T21:18:25.933-07:00The Secret Lives of Museum Objects<!--StartFragment--> <p class="MsoNormal"><i>Reading Artifacts: A Workshop in Material Culture</i>, on April 6, was a nice icebreaker for my first day at my first ever NCPH conference.<span style="mso-spacerun: yes"> </span>The workshop began with a brief presentation of material culture theory followed by presentations of case studies.<span style="mso-spacerun: yes"> </span>The last half of the workshop focused on a hands-on analysis activity for participants, which was a fun way to apply the ideas the presenters discussed.</p> <p class="MsoNormal">I have been working with museum collections for the last few years, and I must admit that in the process of registering and caring for artifacts in museums with limited resources and less than ideal collections conditions, it is easy to lose sight of many of the stories the objects can tell.<span style="mso-spacerun: yes"> </span>It is also easy to overlook the multiple significances an object can have. </p> <p class="MsoNormal">For me, the most illuminating part of this workshop was Krista Cooke’s presentation entitled “Reading Artifacts for Difference: A Lesson in Gendering Material Culture.”<span style="mso-spacerun: yes"> </span>Her discussion of the biases built into museum cataloging processes, nomenclature, and databases changed the way I think about the registration process.<span style="mso-spacerun: yes"> </span>While this may be naïve, I had never before thought to apply the focus on multivocal history to collections practices other than just collecting more representative objects.<span style="mso-spacerun: yes"> </span>I had also never really given much thought to the biases in nomenclature toward objects representative of upper and middle class white males.<span style="mso-spacerun: yes"> </span>As Krista noted, often there is not official nomenclature for objects such as those used in midwifery, while objects used in male-dominated fields are generally easy to classify.<span style="mso-spacerun: yes"> </span>She also discussed how shortcomings in nomenclature and classification systems make it difficult to categorize objects by theme, and in response to this, several different initiatives to use web 2.0 technology to allow users of digital collections to add their own tags to objects’ records, sharing in the authority of the classification process.</p> <p class="MsoNormal">While there is promise in these technologies, small museums rarely have the means to create such intensive projects.<span style="mso-spacerun: yes"> </span>The lesson I will take home with me based on Krista’s examples is simply that any collection can be representative of diverse groups if it is analyzed in a way that accounts for the many potential users, uses, and stories that its objects embody.</p> <!--EndFragment-->Jennifer Wattshttp://www.blogger.com/profile/16007586170210575798noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-11584028358881606242011-04-07T20:26:00.000-07:002011-04-08T06:13:48.462-07:00Civil War Plenary Raises Key QuestionsThe panelists and the audience raised important, thoughtful questions during tonight's Civil War Plenary session.<div><br />
</div><div>After a totally appropriate, and well-deserved, shout-out to Dr. Patrick Moore for the impressive job UWF has brought to the conference, the panelists worked off a general theme, introduced by moderator Dr. Carroll Van West of the Tennessee Civil War National Heritage Area. His comment came out of earlier remarks he gave at the Tennessee Civil War Sesquicentennial opening event last November: Why does the Civil War matter today? It was a terrible fire that consumed so much of the old that it left a great sense of loss in the center of ourselves, but it was too a fire that ignited two flames that burned ever so brighter as the decades passed--the flame of a united strong nation, and, the flame of freedom that burst into a fire of its own some 100 years later to consume the rest of the worst of the old."</div><div><br />
</div><div>Dr. Dwight Pitcaithley first addressed the centrality of the slavery issue to the coming of the war and the secession of the South, pointing the audience to the evidence of the secession commissions, the congressional records, and the failed Washington Peace Conference during 1860-1861. Charles Dew's important book, Apostles of Disunion, is a great way to read more evidence about the concern to protect slavery found in the South that Pitcaithley discussed. </div><div><br />
</div><div>Dr. Connie Lester voiced concerns that the 150th commemoration of the Civil might not be so different than those of the past if the dialogue stayed rooted in debates about battles, the violence, the issues, and the causes. She challenged the audience to look more closely at women, and how they approached issues of "secession, war, and loss." She used the diary of Lucy Virginia French, who lived in southern Appalachia Tennessee. French, like others, was not the sheltered southern belle of lore, but one active in her community, who worked with other women to agitate against secession and who later recorded how your community leaders, in 1867, used Confederate and Union veterans to successfully stop the KKK from organizing in her town. Lester also discussed how Unionists and "secesh" negotiated public space in towns across the South during the occupation periods of the war, and how that learning to live together despite profound differences might hold lessons for today's culture wars.</div><div><br />
</div><div>Michael Allen related how as a southern African American man working at Ft. Sumter in S.C. for 30 years, he had faced and moved beyond the fundamental question he faced in his first days at the National Park Service--why are you here? Once that question reflected everything about the visitor experience at Civil War properties--the literature, the exhibits, everything spoke as if this war had nothing for African Americans. Allen has played an important role in challenging that cultural assumption, and he related steps taken to make sure that the 1960s commemoration isn't repeated. He spoke about the importance of commemoration, observance and rememberance and talked about how it was possible to sit down with both the SCV and the NAACP in the same room and work out ways of moving forward. He argued from experience that the key was to engage communities, at the first, as a fundamental way of developing programs, and not at the end of the process.</div><div><br />
</div><div>Dr. Tim Smith closed the panelist section by reminding everyone that it was correct to expand narratives into new themes but "we can't forget the battles and the battlefields; after all it was a war." He discussed the five generations of battlefield preservation for the Civil War, and pointed out a gap in our understanding--we know fairly well about the NPS battlefields--how they got started, why, by whom, for whom? But the many state and non-profit managed parks--we know, and they seem to know, next to nothing. Yet the great many state and local parks may have a defining impact on how many southerners and westerners think about the war years; after all these are the parks they have nurtured.</div><div><br />
</div><div>The audience questions took these themes and stretched them into new themes, and further questions. Why don't more sites use the actual voices of slaves, available from the WPA project of the 1930s, in their interpretation? Slavery obviously was the not the reason the North fought--does that shape the debate in ways that leave the North out of the equation of what "caused" the war? How is the evolving dialogue between the SCV and NAACP really working in Charleston? Wait, can't we legitimately "celebrate" part of the Civil War narrative, in that it did end slavery, redefine citizenship, and fundamentally (eventually that is) reshape the relationship between the national government and citizens through the 13, 14, and 15th amendments? What about the economic divisions of 1861--an agricultural South and an industrial North? What about the battles and conflicts, including Reconstruction, that happen after Appomattox--will those be ignored in 2015? How can we reach new audiences and immigrants to the United States? Is the theme of music--and how the songs of the war changed as the war took more and more out of the nation--given enough attention in present-day Civil War interpretation?</div><div><br />
</div><div>The range of these questions suggest that as public historians we head into the Sesquicentennial with a far different mindset than the Centennial. At the same time, we have many unresolved questions and issues, that deserve more research, and certainly call for more dialogue and engagement as the events of 2011-2015, or is it 2020?, unfold before our eyes and ears.</div><div><br />
</div><div>The large crowd pushed the panelists, and in return the panelists offered plenty of food for thought.</div><div><br />
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</div>Carroll Van Westhttp://www.blogger.com/profile/07309876942593798965noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-44104665922556469882011-04-07T18:18:00.000-07:002011-04-07T18:26:46.493-07:00Bootlegging a public history approach into the conventional history classroom?In my day job as a University Professor, I often find myself struggling with a rather basic question: What is my role? Should I lecture to provide students with historical information? Or, should I facilitate discussion, encouraging more active inquiry by asking students to raise their own historical questions while reviewing primary sources? This afternoon’s session, “Creating Public Historical Narratives with Stamps, Posters, and Music in mid-Century America” reminded me of both the promise and the problem at the heart of my quandary.<br />
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This semester, I am teaching a catalog course on the Progressive Era. As part of our ongoing classroom discussions, I have been working to help my undergraduates recognize immigration as a site of contest, a mirror for anxieties about work, money, civic responsibility, and national identity. We have read scholarship to support this interpretive position. I have spent a considerable amount of lecture time raising questions about the ways in which the economic and political context of the late 19th century shaped American’s perceptions of immigration. We have also focused on primary source documents regarding restriction debates and reform initiatives including Americanization. We studied photographs by Jacob Riis and read his often ambiguous descriptions of various immigrant people.<br />
<br />
Yet, none of this work seems to have been successful. Students’ oral and written work indicates that they accept both the notion that immigration is a cause of social disorder and that American freedom attracts people from less fortunate nations. These stubborn beliefs create a distorted lens for viewing photographic evidence in particular. <br />
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Joan Fragaszy Troyano’s talk, “US Government Propaganda and the Creation of a New Historical Narrative of Immigration” made me consider integrating public historical approaches into traditional subject matter courses. Troyano demonstrated that images snapped by Lewis Hine, Jacob Riis and others became ubiquitous in government propaganda, marketing and popular culture over time. Progressive era photographers had hoped to document immigration’s social impact, to study immigrants’ racial distinctiveness, and to engage in debates about their relative fitness for citizenship. During the first and second World Wars, however, the very same images were used to urge immigrants to earn and protect the freedom and diversity they had helped build. By showing us the same images put to different purposes –with radically different captions--over time, Troyano provided provocative visual evidence that photographs lie. <br />
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Using similar images in my class might provide students with a more critical perspective. In my public history practice, I treat history as a tool bag not a Bible. Yet, in more traditional history courses, I somehow feel restrained. If I depart from the disciplinary insistence on periods, integrating propaganda images from World War I, World War II, the 1960s and 1970s into my Progressive Era course, I might be more successful in encouraging my students to read photographs with suspicion. However, I fear I might also confuse their already fragile sense of time and context.<br />
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I know what I would choose to do in an exhibition. I confess I often remain uncertain about what is appropriate to do in the classroom.<br />
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~ Denise MeringoloUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-32391442843844250062011-04-07T13:46:00.000-07:002011-04-07T14:20:31.599-07:00A Walking ConferenceWith sessions spread between the Crown Plaza and several venues in historic Pensacola Village, this year's NCPH meeting in Pensacola presents a rarity - a truly walkable conference that encourages conference goers to escape the headquarters hotel! Although I have heard a couple of comments lamenting the lack of central meeting place for conference goers to just hang out, I find it a welcome change from the meetings of many organizations where (with the exception of field trips) you find yourself captive of the hotel. This is certainly not a new idea at the NCPH. In Santa Fe four years ago events took place in several locations within a few blocks of the Plaza. <div><br /></div><div>And like Santa Fe, Pensacola provides a perfect landscape for public historians to engage the history of the community where we are meeting. Just a block from the conference hotel is St. Michael's Cemetery. After strolling past on my way to registration at the Museum of Commerce in the Village, I could not resist the urge to explore the rows of stone markers and family tombs on my way back to the hotel.</div><div><br /></div><div>I hope I am not sounding too much like a booster! But place matters intensely to public historians, and my thanks to the members of the local arrangements committee for taking advantage of the unique opportunities close at hand and helping us explore the place that is Pensacola.</div>Greg Smoakhttp://www.blogger.com/profile/04979308475823216869noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-7073061196551923862011-04-07T12:38:00.000-07:002011-04-07T18:09:20.963-07:00Shoveling sand for a good causeSand is insidious. It gets in everything. It covers everything. Wind moves it effortlessly. Man moves it not so well. So consider the impact a hurricane has on these barrier islands and the Forts that protect their shoreline and harbors - sand & water moving a incredible speeds. Sand & water that will cover everything including various support structures of the fort - structures that provide great interpretive opportunities to explain the challenges of building a fort on sand. Along came Hurricane Ivan and buried some of these key structures, along with all the road ways and much of the forts walkways. Sand is hard to move.<div><br />
</div><div>As a Service Opportunity, volunteers from the conference tackled the tasks of removing brush, sweeping walkways & digging out one of the reverse support structures that allowed the visitor to understand how the heavy artillery guns and implacements were able to sit on top of a fort built on sand. The enthusiastic crew tackled each of these tasks with gusto. Thankfully, many of the crew, including myself had some experience on archaeological digs (Thanks Steve Mrozowski - UMASS-Boston) therefore, the crew was utilizing brooms to clear away sand to identify the brick edges of the reverse support.</div><div>The crew worked tirelessly and energetically and moved a ton of sand, absolutely, had to be a ton. The highlight was accurately depicted by Rachel D'Nato, "The coolest thing was as we were finishing up at the reverse support, the 2:00 Tour came by and said, 'Wow! Look at that!' We felt so good that this structural component of the fort was revealed allowing the visitor to really understand the fort's construction. It was great."</div><div>The general agreement was that these service opportunities were really great opportunities, but we could expand them by doing the physical labor in the AM, then attacking a problematic issue at the site - after all, we have all these really smart people who have done really interesting work acting as free consultants to the museum, historic site, etc. A free charrette.</div><div>A good afternoon of work with tangible results and it was totally a team effort.</div><div>Chuck Arning</div>Chuck Arninghttp://www.blogger.com/profile/03313919492341097253noreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-87885021672553466472011-04-07T11:46:00.000-07:002011-04-07T18:10:51.604-07:00THATCamp: Finding our core values in (spite of) the zeroes and ones<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSTYS3wF5pwN8rLQLQGQzbXx6GGiQkpojYh50BNTRxIUzi8Sjs7DxOH7GoDG9ppciaRTtn-6Lsl4wMG9SMEX8haOHWI4uTePHG7KDYCQsyb21XWvg5JGiLhrojSp4qRRtp2XEP0g-Epkj/s1600/that-campers.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipSTYS3wF5pwN8rLQLQGQzbXx6GGiQkpojYh50BNTRxIUzi8Sjs7DxOH7GoDG9ppciaRTtn-6Lsl4wMG9SMEX8haOHWI4uTePHG7KDYCQsyb21XWvg5JGiLhrojSp4qRRtp2XEP0g-Epkj/s320/that-campers.jpg" /></a></div>"I feel like a quart jar that someone just poured a gallon of water into," my colleague Marla Miller said after we finished Wednesday's <a href="http://ncph2011.thatcamp.org/">THATCamp NCPH</a>. We spent the day in five free-form sessions addressing topics that ranged from the technical (3D mapping and data mining) to the logistical (managing a digital history project for long-term sustainability) to the philosophical (“What is Digital History?”).<br />
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As with each <a href="http://thatcamp.org/">THATCamp</a>, ours reflected the particular mix of people, skills, and interests present. The sessions I went to were much more about relationships (between “experts” and their digital “publics,” or among public historians themselves) than about zeroes and ones, although I did learn about some useful-sounding new tools and some indisputably cool projects (check out <a href="http://archive.cyark.org/">CyArk</a>, which is trying to preserve the world’s heritage digitally, or <a href="http://www.gigapan.org/">Gigapan</a>, for making incredibly high-res landscape scans). Although there’s still a common perception that the digital side of the humanities is the realm of tech-savvy geeks, THATCamp reinforced my gut sense that (a) we all know more than we think we do, (b) nobody knows everything, and (c) it’s smart to keep adding to what we know, without falling into the idea that if we just had this skill or that app, we would reach some happy desired level of competency that would assuage our fears of technological inadequacy. <br />
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Another way to say this is that there really isn’t a “digital side of the humanities” anymore. We’re all in it, and being in it, we should make sure it reflects our values and goals, rather than just adding skills in the hope of making ourselves more competent or employable. The skill-set approach makes me deeply uneasy; I can see a subtle process of <i>de</i>-skilling here, in which too many of the humans ostensibly at the core of the humanities instead essentially become technicians, able to reproduce some piece of past reality in meticulous detail but increasingly cut off from the level of creative decision-making where projects are envisioned. If too many of us become scanner-tenders, as the artisanal workers of the nineteenth century became loom-tenders, what becomes of the overall project of creating a robust participatory realm for the exploration of the past and its relevance to the present? What good is fostering a creative connection with the past for our various publics if we lose that spark of inventiveness and discovery in our own working lives?<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYKypuEIFal9JKI73T0ylPCQse0sT9kqrIDbsk1E1Ea_PlvDloEQ7bISK-DDYNrW5E2xbg30eW_y6znYINfH7LKVg-tsx4KDQqiDDcTmYEP1_Tg0MKf2FtgUNqHk83lmiRq0qjVxctChyi/s1600/tom-that.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYKypuEIFal9JKI73T0ylPCQse0sT9kqrIDbsk1E1Ea_PlvDloEQ7bISK-DDYNrW5E2xbg30eW_y6znYINfH7LKVg-tsx4KDQqiDDcTmYEP1_Tg0MKf2FtgUNqHk83lmiRq0qjVxctChyi/s320/tom-that.jpg" /></a></div>Overall, in a funny way, THATCamp feels like a useful tool for <i>resisting</i> the siren song of the new and the cool, as much as for becoming friendlier with it. Tom Scheinfeldt (left) from George Mason University’s <a href="http://chnm.gmu.edu/">Center for History and New Media</a>, one of the originators of the camp concept and an articulate defender of a humanistic approach to technology, captured this for me at the end of a final break-out session where we focused on the question “What is Digital History?” When we pushed ourselves to answer this question, Tom suggested that at bottom, it’s about shared values like openness, experimentation, and collegiality—the same core values that many of us see at the heart of public history. There may be no unitary definition, and chasing one is perhaps ultimately as unproductive as <a href="http://ncph.org/cms/what-is-public-history/">chasing a single definition of public history</a>, as <a href="http://twitter.com/publichistorian">Suzanne Fischer</a>suggested during the discussion. But it was useful to think about those shared values that animate what we do and let us recognize people from various fields who are doing it too, even when they don’t label themselves as public or digital historians. It’s our secret handshake in a cultural economy that continues to try to re-cast our work in a rationalized, efficiency-driven mode that turns passions into standardized products and people into insecure entrepreneurs just trying to capture a bit of the capital circulating all around us.<br />
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The need to define and defend this set of values was underscored by the presence of several European public history colleagues, including Serge Noiret, who organized <a href="http://www.thatcampflorence.org/">THATCamp Florence</a> a couple of weeks ago. Serge described an increasingly beleaguered humanities sector in European public and academic scholarship, and said that the public sector is the one place that historians can find jobs and funding for research, often within “Europeanizing” projects. There are reflections here of both the 1970s academic “jobs crisis” that contributed to the coalescing of public history as a distinct professional discourse and what the future may hold if the Thirty Years War on the American public sector continues to intensify. Some European public historians are asking what the American model and approach may offer them in their own struggles; in uncertain times, that vision of the digital humanities as an open and experimental space seems like one of the best hopes for all of us.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3844566193845359144.post-24664916834115320522011-04-06T20:18:00.000-07:002011-04-06T20:47:15.588-07:00Thinking outside the box at NCPH THATCampToday, NCPH was host to a new session format: the <a href="http://thatcamp.org/">THATCamp</a> "unconference" (which is a clever acronym for "The Humanities and Technology Camp"). The "unconference" is not dissimilar to a regular "conference," in that both involve gatherings of people who are there to discuss professional issues (hopefully in a lively manner!). The big difference is that participants in an unconference don't come to the conference with any papers, and the schedule is jointly created during the first half hour of the day from session proposals that participants had previously posted to the <a href="http://ncph2011.thatcamp.org/">THATCamp NCPH blog</a>. This strategic lack of preparation (hopefully) creates conversations that are both directed and informal. In practice, this also means that there are lots of tangents - but they are usually productive, and at least interesting!<br />
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While THATCamp was technically (and technologically) focused on using digital tools in public history, I found participating in THATCamp to be a great way to mentally prime the pump in preparation for the discussions that will be part of the somewhat more formal conference and workshop sessions going on throughout the rest of this week. <br />
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By getting a so many smart people in one room, the unconference format also helped to facilitate creative discussions that were quite different from what the traditional conference format allows for. In one THATCamp session that was particularly intriguing on this front, I and several other NCPH THATCampers came up with an idea of an NCPH community blog that would incorporate several of the already existing threads of NCPH-related online discussion. Some of the features that such a blog might include are: exhibit reviews, questions about and discussion of current events and issues in the field, opportunities for individuals and organizations to showcase their public history projects, announcements, and content that originates from, or is cross-posted to, H-Public. Ideally, we would have enough contributors and different types of content to make this blog into a vibrant public history commons. <br />
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While this is just a seed of an idea, we hope that in the coming months we will be able to grow it into something that is both useful and sustainable. We're eager to keep this and other conversations started at THATCamp going. If you have any other ideas about what form this blog might take, and how we might implement it, please add your voice in the comments.Kate Freedmanhttp://www.blogger.com/profile/15220539331518643758noreply@blogger.com0