Earlier this year the Indian American Heritage Project at the Smithsonian launched its inaugural exhibition Beyond Bollywood. Housed in a gallery at the National Museum of Natural History through March 2015, the exhibition “explores the heritage, daily experience and numerous, diverse contributions that Indian immigrants and Indian Americans have made to shaping the United States.” For the last year I’ve been involved peripherally with the exhibition, as a contributor to the Beyond Bollywood blog.
There are a lot of things that this exhibition has going for it. It’s located in a high traffic museum, and it embeds the experiences of Indian immigrants and Indian Americans in a context filled with music, photographs, and art. The exhibition has spurred pride, excitement, and interest. However, it has also spun out into a broader discussion about representation and identity. Continue reading →
A National Park Service ranger gives a talk about the Liberty Bell to tourists, Independence Hall, July 1951. Photo credit: Abbie Rowe (National Park Service), Wikimedia Commons.
The year 2016 is a momentous one for public historians in the United States, particularly those who work for and with federal agencies. The National Park Service will mark the 100th anniversary of its founding, and the National Historic Preservation Act will have been in effect for 50 years. These two landmark moments come just two years after the National Museum of American History quietly marked its own 50th anniversary in 2014.
We have organized a Working Group for the National Council on Public History (NCPH) 2015 Annual Meeting in Nashville that will serve as a collaborative forum for planning a scholarly symposium to mark these important events. The symposium will take place in March 2016 during the NCPH Annual Meeting in Baltimore.
We have several goals for our working group.
First, we would like to create a symposium that will not simply commemorate the history of federal preservation, cultural resource management, and historical interpretation but will invite dialogue about the future of federal cultural policy and practice in the 21st century. Continue reading →
This is the second post in a series on issues of diversity in the public history field. Each post in this series is based upon oral interviews conducted with public history professionals. Each interview was conducted in a traditional interview question and answer format. All interviews were edited and condensed based on relevancy and to retain a reasonable length for the posts.
Dr. Modupe Labode with students. Photo credit: Courtesy of Labode.
I began my exploration of this topic by interviewing two public historians who have proven track records addressing diversity issues in public history: Modupe Labode, Assistant Professor of History and Museum Studies at Indiana University-Purdue University Indianapolis, and Juanita Moore, President and CEO of the Charles H. Wright Museum of African-American History in Detroit, Michigan.
At the National Council on Public History (NCPH) Annual Meeting in 2009, Labode helped spearhead a working group titled “How do we get there? Racial and ethnic diversity in the public history profession,” which served as a platform to “discuss the profession’s lack of diversity and share ideas about remedying the situation.” As the CEO and President of the nation’s largest African American history museum, Moore has achieved a stellar career as a public historian of color, and she remains committed to mentoring and providing opportunities to other public historians as they enter the field. My conversations with each of these women demonstrated that though some changes have been made, there is still much work to be done to bolster the field of public history to include those from diverse backgrounds.
Why does our field suffer from a lack of diverse professionals?
According to Labode, individuals that are historically underrepresented in museums are generally underrepresented in the humanities field. This plays a major part in reflecting what we see in public history. Consider Moore’s point that, for a while, museum professionals did not come from fields as specific as public history or even from graduate programs. Thus, the field potentially fails to attract diverse professionals because they may be engaged in fields or graduate programs without direct links to public history. Furthermore, many are unsure of how to enter the field in the first place. I can attest to this issue: as an undergraduate student, neither my academic mentors nor advisors were able to point me in the direction I needed to take to pursue museum work. It was only after I endured several exhaustive appointments with a career counselor and took a series of online exams that prearranged my career goals that I was even made aware of public history. Continue reading →
One of the floating Victorian houses awaiting a burning that never quite arrived during the Great Chicago Fire Festival on October 4. Photo credit: Richard Anderson
As a public-historian-in-training and recovering theater nerd, I attended last month’s Great Chicago Fire Festival with high hopes. Redmoon Theater–one of the city’s most innovative companies–staged an elaborate pageant on the Chicago River commemorating the infamous 1871 fire that destroyed much of the city. Organizers promised the festival would “unite Chicago’s neighborhoods and celebrate Chicago’s grit, greatness, and renewal following the fire of 1871.” Unity and celebration certainly seemed palpable among the estimated crowd of 30,000 packed three-deep along the bridges and esplanade overlooking the river. I appreciate any effort to bring strangers together for a shared experience, especially one related to history. Yet the evening left me disappointed. The Great Chicago Fire Festival presented a version of history too sanitized and too simple. Redmoon lacked the courage to ask more discomfiting questions about the presence of the past in Chicago today. Continue reading →
This is the first post in a series on issues of diversity in the public history field.
Waymond, the custodian who challenged me to think differently about diversity at a community history event. Photo credit: Angela Thorpe
“I’m surprised to see you here. You know this museum is for white people, right?” These words greeted me during my first days of an internship at a Greensboro, North Carolina, museum last August. This statement alarmed me for a couple of reasons. First, the speaker is an active member of one of Greensboro’s most historic black communities. I worried that if other members of the community shared his sentiment–that the museum wasn’t a space for them–the museum was not confronting diversity head-on in their exhibits, program offerings, and outreach work. Second, if our communities do not see museums as spaces where diverse faces should be employed in leadership roles, an issue is exposed that is highly complex and not easily remedied.
My name is Angela Thorpe, and I am a recent graduate of the Museum Studies MA program at the University of North Carolina at Greensboro. I first noticed a problem with diversity in public history when I canvassed public history programs across the country. As a black female, I felt it necessary to understand how my prospective programs confronted diversity. Each program director admitted their program “struggled with diversity,” but that they were “working on it.” My former program director, in comparison, was candid with me about the program’s spotty track record for attracting a diverse body. I appreciated that and was honored to eventually train in the program. Continue reading →
Central Experimental Farm, Ottawa Photo Credit: Pete Anderson
Academic careers are hard to come by these days. Public historians will not be surprised by the posts on the active #altac hashtag on Twitter or the Social Science and Humanities Research Council of Canada’s (SSHRC) recent “White Paper on the Future of the PhD in the Humanities” that observed that only between 10 and 15 percent of those who enter PhD programs will be employed at a post-secondary institution . A declining number of tenured and tenure-track positions, coupled with an increased reliance on precarious labor in the form of adjunct and temporary appointments, has destabilized the academic job market for graduates. Deep budget cuts to museums, archives, and other research-oriented institutions–not just in history and the humanities, but also in the social, physical, and life sciences–make finding “traditional” public history jobs increasingly difficult as well.
As a second-year PhD student working towards defending my dissertation proposal and completing my qualifying exams this term, I do not have the answers to questions about the utility of a PhD, but I am interested in designing my project with an awareness of the challenges facing new graduates. As Abby Curtin notes in her recent post on History@Work, while theses provide opportunities to explore rich historical questions, it doesn’t mean one shouldn’t be strategic in project design or have an eye towards future employability. Continue reading →
Our suspicions about the too-great-to-be-true Moms at the “Mich” album cover led us back to the Wikipedia entry that had started our quest for details about this little-known moment in LGBT (Lesbian, Gay, Bisexual, and Transgender) history. When we looked at the edit logs, however, we saw that that important bit of historical information had been added quite recently. In August 2010, someone edited the entry to include the festival as well as the tidbit that Moms was one of the first XXX-rated comedians on the circuit, with a footnote that led to–you guessed it–Queers in History. Who made this addition? Did he or she have a secret archive of documents in the attic? We tried reaching out to the person who edited the Wikipedia entry, but the email address was dead. Continue reading →
Citizen scientists report on weather and other natural phenomena. Is there a parallel for the collection of historical data? Photo credit: wienotfilms
A while ago I received an e-mail from SciStarter. I had signed up on its Web site to look for research opportunities where I live. No, I wasn’t searching for a chance to do a report on the history of science but rather to see what science research projects needed help in my area. Let me step back a bit and explain. Continue reading →
Moms at the ‘Mich’: Cover of the mysterious “lost” Moms Mabley album. Photo credit: Rateyourmusic.com
There are layers of history contained in the album cover for Moms at the “Mich.” Jackie “Moms” Mabley’s career ran from the queer Harlem comedy clubs of the 1920s to early race films, from the mid-century “chitlin’ circuit” to the family-friendly late-career movie Amazing Grace (1974). But this… this is a doozy, closer to the porn-comedy LPs of Blowfly than the lyrics of earlier lesbian entertainer Gladys Bentley. Continue reading →
Homepage of the “Slavery at South Carolina College” website.
In the final post of this series, we consider how the “Slavery at South Carolina College” project has been received. The most important effects have been local. The website has acted as a catalyst that has increased awareness of slavery at the university and an interest among students and faculty in speaking plainly about that history. The Richland County Public Library invited the team that created the site to present the research to community members in February 2012, and individual students have guest-lectured on the topic in university classes. Responses from students and members of the community seem to reflect a desire among at least some in the public to learn about and discuss tough issues in our shared history. Continue reading →