Longer than the Olympics and arguably as prestigious, the most attended sporting event on earth is the Tour de France, which meanders through more than 2,000 miles of Europe’s most picturesque and challenging terrain. One cannot divorce the race from the surrounding cultural heritage and history. Yet this aspect of the Tour has not been fully integrated into the media surrounding the event.
This gap is what prompted me to create Explore le Tour as a side project to my full-time job in early 2015. The eventual concept is for Explore le Tour to become a comprehensive cultural and historical guide to the Tour de France route, where blog posts about specific topics are keyed to stage-by-stage maps and information. All this is geared towards enriching the television audience and traveler’s experience.
For those planning a trip to see the Tour in person, it offers ideas and context for things to see and do, many of which are off the beaten path. For the larger audience at home, the initiative serves as an armchair guide while watching the race on television. For Tour organizers, Explore le Tour offers an opportunity for increased fan engagement and possibly an expanded fan base thanks to the wide appeal of French culture across the globe. At the same time, the website moves to boost French tourism by marketing locations and events to the same global audience.
Join the peloton’s journey through France and history this July with Explore le Tour. Vive le Tour!
~ Alex Bethke is the Cultural Resources Program Lead for Navy Region Southwest in San Diego. He traveled to see the Tour de France in 2012 and launched Explore le Tour as a reflection of his three biggest passions, history, cycling, and travel.
Images from the Community of Gardens project. Photo credit: Smithsonian Gardens
Gardens are personal. To some they are a way to grow food, to others a space of serene retreat, and to others still a background for celebrating culture and friendship. For many, they encompass a host of meanings and uses. How do we collect these ephemeral stories? How do we celebrate garden diversity?
Community of Gardens is Smithsonian Gardens’ answer to the call to preserve our vernacular garden heritage. The Horticulture Collections Management & Education department has embarked on a new initiative to crowdsource garden histories. With help from an internal Smithsonian grant, we collaborated with Curatescape to customize its Omeka-based web platform for “curating the landscape” with location-based content. Visitors to the website can contribute stories of gardens and green spaces in their own communities and explore other stories from around the country. Our goal is to create a participatory archive that enriches and adds diversity to the Archives of American Gardens collection and encourages engagement with gardens on a local, community level. In the coming months, we will introduce online exhibits and educational materials for teachers. The website uses a multimedia platform that supports images, text, audio, and video, and we welcome stories from the general public, museums, schools, universities, and public gardens. It is our hope that the project will encourage our audience to get their hands dirty and go out and unearth the everyday, untold stories in our own backyards.
~ Kate Fox is Smithsonian Gardens educator.
Image credit: Screenshot by Danielle Emerling
On October 15, 1966, President Lyndon Baines Johnson remarked: “When the historians of tomorrow write of today, they will say of the 89th Congress … ‘This was the great Congress.’” The president was elated that between January 1965 and December 1966, the 89th US Congress had enacted the most extensive legislative program since the New Deal. The Voting Rights Act, Elementary and Secondary Education Act, and amendments to the Social Security Act, which resulted in the creation of Medicare and Medicaid, were but a few of the transformative pieces of legislation passed as cornerstones of Johnson’s Great Society agenda. 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.”
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
Clue Town Piedmont Park scavenger hunt. Photo credit: Jay Carlson
I can’t even tell you how many crackpot business ideas I’ve had over the years, from producing greeting cards to owning an art supply store to selling candy in vending machines. They never came to fruition, but then I had an idea to create ready-to-solve scavenger hunts. The hunts would be self-guided tours of walkable areas, but a person or team has to solve puzzles using landmarks in order to know where to go next. When my wife, the realist, thought it was a good idea, then I knew I wasn’t just looking through rose-colored glasses. I started selling Clue Town Books in September 2012 with only two hunts: Piedmont Park and Oakland Cemetery in Atlanta, Georgia.
It’s easy to articulate what Clue Town is now, but at the time of its creation I had no idea how it would work. I spent weeks surveying the 190 acres of Piedmont Park in its entirety. I spent months designing paths, beta testing with adults and kids, redesigning paths, and beta testing some more. When I experimented with a path that used permanent landmarks (for example statues and historical markers) instead of self-planted signs, that’s when things fell into place. Folding in history allowed me to transform Clue Town from a series of puzzles to interactive storytelling.
I have a theory that a person doesn’t have an interest in local history until he or she has been affected by change first-hand. Perhaps a favorite restaurant closes or a new skyscraper alters the skyline. This makes each witness a historian for the short term. These bits of change compound over time to make one realize that nothing is constant. The city is different now than when you first arrived, and the city was drastically different generations ago. People and events are changing cities all the time, even while traces of the past often remain. Continue reading
As part of a larger project focusing on the history and legacy of cotton-picking and sharecropping in the Mississippi Delta, the non-profit organization Khafre, Inc. is holding weekly sessions throughout the summer of 2014 to gather memories and oral histories from people with roots in the Delta region, especially older African Americans with first-hand knowledge of work in “America’s Cotton Kingdom.” Khafre is based in Indianola, Mississippi, and is led by C. Sade Turnipseed, an educator and cultural preservationist who is compiling the data for a doctoral dissertation in the Public History program at Middle Tennessee State University.
Khafre, Inc. and Turnipseed are working to inspire a “community-driven historic preservation” movement that brings together heritage tourism with community empowerment and commemoration. They hope to reframe public perceptions of cotton-picking, sharecropping, and tenant farming through public education programs and the establishment of a “place” planned as the Cotton Pickers of America Monument complex (Sharecroppers’ House Museum and Sharecroppers Interpretive Center), designed by sculptor Ed Dwight for Mound Bayou in Bolivar County.
This fall will see the third annual “Sweat Equity Investment in the Cotton Kingdom” symposium and Cotton Pickers Ball event at Mississippi Valley State University in Itta Bena, a gathering that combines performance, scholarship, memorializing, and fund-raising. (The poster for the 2013 event is shown above.) The summer 2014 “Cotton Memories” sessions will take place in two locations: da’ House of Khafre in Indianola on Wednesday afternoons and at Mound Bayou City Hall on Thursday afternoons. More information about the sessions and the larger project can be found on Khafre’s website.
“At Home in Holland,” a new digital history project by students at the University of Amsterdam, responds to the way that hostile reactions to immigrants have undermined the traditional idea of Dutch tolerance and hospitality in recent years. The current Dutch asylum policy was developed in the 1980s. In that same period, Amnesty International Netherlands held its first campaign to draw attention to the problems faced by refugees in the Netherlands. How did a human rights organization usually focused on the plight of people abroad end up campaigning against human rights abuses back at home? Continue reading