This post is the second in a series on the Amsterdam Museum. To read the first post, click here.
The exhibit’s leading image, Argentina’s legendary Diego Maradona in his classic praying pose, introduced a striking thematic juxtaposition. Photo Credit: Caro Bonink/Amsterdam Museum
“The stadiums are getting fuller and the churches emptier.”
This observation, from Amsterdam Museum director Paul Spies, served as the inspiration for the museum’s intriguing, controversial, and, at times, humorous temporary exhibit Football Hallelujah! On view September 2014 through January 2015, the exhibit explored the ways in which international football (soccer) fandom parallels a religious experience. While attending the first annual conference of the International Federation of Public History I visited the exhibit, intrigued to see the approach taken by a curatorial staff that dared to tread on sports fans’ hallowed ground. Continue reading
Tag cloud from Centre for Regulation and Market Analysis conference in Adelaide, South Australia. Image credit: University of South Australia
Some nineteen categories of public history programs are now offered. Many offer skills and knowledge useful for specialized businesses (archival practices, business histories, publishing). None prepare history students for general business careers. Business and History is designed to fill this void by linking historians’ methods to solving problems common to private enterprise. Continue reading
The Center for American Indian Research and Native Studies (CAIRNS) in South Dakota will present an innovative exhibit in early May 2015 called “Lakota Emergence.” The exhibit focuses entirely on the short Lakota emergence narrative titled “How the Lakota Came Upon the World,” published in 1917. The exhibit divides the 1,251-word narrative into 16 “passages,” and pairs each passage with an outstanding example of a practical or artistic object from the Sioux Indian Museum (one of the three Indian Arts and Crafts Board museums in the United States). The selected objects span a period of time from before the 1868 Fort Laramie Treaty all the way to the early 1970s. All were created by Lakotas and were collected from within the boundaries of the 1868 Treaty, including what is now Pine Ridge, Rosebud, and Standing Rock Reservations, as well as the community of Rapid City.
In addition to the passages and museum objects, original artworks by distinguished and emerging contemporary Lakota artists will be featured, thereby creating what are called “vignettes.” These 16 vignettes will recount the Lakota emergence narrative in written words, museum collections, and contemporary artworks. Dr. Craig Howe, director of CAIRNS and curator of Lakota Emergence, says “the exhibit was conceived to illustrate that the emergence narrative continues to be a source of creativity, and that Wind Cave was and always will remain a landscape of special significance in Lakota cosmology.”
Film canisters in the National Archives, Washington, DC. Photo credit: MrTinDC
Having laid the groundwork, the History Relevance Campaign (HRC) is ready to take a big step forward and needs your help. The HRC started a little more than two years ago, with early conversations taking place at the annual meeting of the National Council on Public History in Ottawa and continuing at last year’s annual meeting in Monterey. Since then, organizers have been talking with many people in the history field in the US and refining a “Value of History” statement. Many NCPH members have contributed to the HRC efforts thus far.
Several weeks ago the HRC unveiled a new website. The website offers information on the variety of projects underway to raise the profile of history in our society. As we’ve said all along, this is not a new conversation, but unless we create a unified voice, shout more loudly, and demonstrate our relevance, history will continue to stay nice but not necessary. We want people to value history for its connections to modern life and to use historical thinking skills to actively engage with and address contemporary issues. Continue reading
Photo credit: Suzanne Fischer
Doing public history, in all its diverse manifestations, requires certain specialized habits of mind. One of the most vital but also the most mysterious is synthesis.
When I begin work on an exhibition, such as the one I’ve been developing for the past two years, I read as many books and talk to as many people as I can, and then–I wait. I wait to wake up at 5 am with an exhibit concept plan fully formed in my head. I wait to discover an important idea by talking it out with a friend over coffee. I wait to be suddenly struck in the middle of a meeting with the solution to a convoluted conceptual problem that I immediately scribble down as if I’m taking notes on whatever the meeting is actually about. I wait–and I trust the process because I know it works and because I have developed and exercised my synthetic powers before and I know that they require patience. In comes 100 scholarly monographs, out comes 30 accessible fifty-word labels, without fail.
Though it can feel magical, especially once you’ve internalized the work it takes, synthesis is a creative skill that public historians can learn and teach. Continue reading
History and Reconstruction project storyteller Denise Valentine (center), psychologist Dr. Thomas Gordon (right), members of the cohort, and friends. Photo credit: Courtesy of Phillip Seitz
How can public historians and their audiences come to terms with the traumatic and ongoing legacies of racism and slavery in the United States? This is the question motivating a project I’m currently working on in Philadelphia with a group of ex-offenders, ages 21 to 72. The project is a collaboration with Reconstruction Inc., a grass-roots group (William Goldsby, chair) that supports returning citizens as well as youth at risk and lifetime prisoners. Continue reading
Frank and Audrey Peterman were among the speakers at the “More Voices” event in Boston. Photo credit: National Park Service
As a graduate student of public history who specializes in early America, I spend a lot of time thinking about borders and peripheries, not just the temporal and spatial borders of British North America, but the figurative borders within which the “traditional” American experience is circumscribed. In my adopted state of Massachusetts, I’ve encountered many public humanities practitioners who are trying to push boundaries and engage new disciplines and new audiences, particularly through capturing a wider range of voices and stories at their sites. Continue reading
A Lancaster bomber at the Canada Air and Space Museum in Ottawa. Photo credit: Doug Zwick
From art museums collecting Instagram posts for mobile photography exhibits to natural history museums getting visitors to actively participate in digitizing their collections or museums using crowdfunding sites like Kickstarter, Indiegogo, and Causevox to raise funds for special projects and exhibits, crowdsourcing is becoming increasingly prevalent in heritage and cultural institutions. Crowdfunding, which has been defined as “asking many people for ‘microdonations’ for a specific project or cause, usually within a specific time frame and online,” differs from traditional donor campaigns in that it is equal parts marketing, audience engagement, and of course, fundraising. Continue reading
What happens when you layer an art experiment on top of a science project on top of a walking tour on top of an archival map on top of demographic data on top of a memoir? What if the archives of multiple universities could be accessed on one platform and layered with the projects, stories, and data from researchers, teachers, students, and community groups?
Stadiumville project site as of November 25, 2014. Screenshot credit: Adina Langer
The concept of deep mapping comes from a literary tradition focused on interdisciplinary exploration of small rural areas, but new technologies in GIS and database-driven visualization tools now allow for incredibly rich explorations of cities. The Polis Center, based on its National Endowment for the Humanities (NEH) summer institute on deep mapping, defines the concept considering these new possibilities: Continue reading
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