Revealing slavery’s legacy at a public university in the South (Part 2)

This handprint on one of the bricks of the wall surrounding the old campus was very likely made by a slave.  Photo:  Slavery at South Carolina College team.

This handprint on one of the bricks of the wall surrounding the old campus was very likely made by a slave. Photo credit: Slavery at South Carolina College team.

Continued from Part 1.

As well as trying to convey a sense of these enslaved workers as people, the team of graduate students working on the “Slavery at South Carolina College” website also sought to connect this history to the physical landscape. Harnessing the power of place to tell the story of slavery, we emphasized the built environment of the historic college. The antebellum section of the campus, referred to today as the Horseshoe because of its shape, survives as the historic heart of the modern university. But the most important reason to emphasize the built environment is that slaves physically constructed it. Continue reading

Revealing slavery’s legacy at a public university in the South (Part 1)

This 1820 watercolor shows an early view of the campus.  Image:  South Caroliniana Library

This 1820 watercolor shows an early view of the campus. Photo credit: South Caroliniana Library of the University of South Carolina

Written on the landscape of the University of South Carolina is an untold yet well-documented story of slavery. Enslaved people constructed the buildings of the university’s antebellum predecessor, South Carolina College, attended to the wants of white students and faculty, and performed countless tasks essential to running the college. This story is not unique in the history of American colleges and universities. Even in places where slavery was not widespread, the profits from slavery helped fund institutions of higher learning. Scholars have been slow to examine American universities’ historical association with slavery, and universities have been even slower to acknowledge it. The current momentum, however, favors expanding the discussion of these complicated topics.  Continue reading

Public history in a digital world: The revolution reconsidered

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Photo credit: Serge Noiret

On October 23rd, the University of Amsterdam will be hosting the first conference of the International Federation for Public History (IFPH), “Public History in a Digital World: The Revolution Reconsidered”. Several years in the making and spearheaded by the tireless efforts of Manon Parry and Paul Knevel of the University of Amsterdam and Serge Noiret, Chair of the IFPH, public history practitioners from Europe, the Americas, and Asia will come together for three days to discuss and debate what digital media brings to public history and where public history is headed in a digital world. Continue reading

Surfing with purpose: Online collections as exhibit resources (Part 2)

Continued from Part 1.

Creative Commons logos

Creative Commons offers several levels of easily-applied licenses to facilitate digital publishing of images while offering some protections to owners and creators.

Navigating copyright for images is tricky and presents one of the biggest challenges in my work as an Exhibitions Researcher at the Indiana Historical Society. Although I admit to only a rudimentary understanding of copyright, this is where open access comes in very handy. While it is certainly important to support other cultural institutions and individuals by purchasing images, the back and forth involved in determining copyright, ensuring a file is a high enough resolution, or waiting for a physical copy to be delivered doesn’t always fit into a production schedule. That is why I increasingly rely on sites with hassle-free permissions and files I can download immediately. We still always credit the source of photos used in our exhibits even if they are open access.

Issues of copyright become even more complex with online materials, and new legal conventions are emerging along with digital collections. Continue reading

Surfing with purpose: Online collections as exhibit resources (Part 1)

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Digital collections like those of the Internet Archive have drastically expanded the resources available to exhibit creators. Photo credit: Internet Archive

Thanks to the exponential increase in availability of digitized collections, possibilities in exhibit research have drastically expanded. Digital collections have become essential tools that help ensure the success of projects with limited budgets and tight deadlines, which most public historians might agree is just about every project. At the same time, it is often overwhelming to sift through the wide range of options. How can researchers, curators, and designers best utilize and understand the many resources provided through digital repositories and open access collections?

I recently responded to a tweet by Mary Rizzo asking for examples of people using the Internet Archive, an open access digital collection, in their public history work, and she suggested I write a blog post about using tools like this. As an Exhibitions Researcher at the Indiana Historical Society, my initial reaction was to think “I don’t know much about open access collections, I just use them.” Considering again, however, I realized that even though I was trained during the era of digitization and I use these resources as second nature in my work, I’ve still gone through a learning process in my job. Continue reading

Oral history as public history

Children playing at Euclid Beach, Cleveland, OH. Photo credit:

Euclid Beach Park conjures fond childhood memories for many participants in the Cleveland Regional Oral History Project. Photo credit: Cleveland State University Special Collections

Many of us have discovered what promised to be an exciting oral history project through a Google search, only to be crestfallen when the linked web page was nothing more than a description of a trove of interviews kept in an ivory tower hundreds or thousands of miles away. It’s a given that oral history can’t be public history if it’s a cache of CDs or transcripts squirreled away in a drawer.  Is it any less clear that an interview collection—no matter how voluminous, historically significant, or methodologically rigorous—also falls short of the mark when it rests in a library? A project’s outcomes should be publicly visible and audible. Continue reading

The Master’s Tools, 2.0

Kings College, Cambridge. Photo by Colin Smith, Wikimedia Commons.

King’s College, Cambridge. Photo credit: Colin Smith, Wikimedia Commons

In her thought-provoking post from November 2012, Mary Rizzo opened up a conversation about the relationship between the rapidly growing field of digital humanities and public history. Reflecting on a recent THATcamp meeting, Rizzo concluded that existing divisions between the producers and the critical thinkers of digital humanities projects had the potential to re-inscribe gender and racial hierarchies. I want to take Rizzo’s still-salient concerns as a starting point for a conversation in a slightly different direction, namely the potential for the democratization of historical knowledge made possible by digital tools and the role of public historians in this process. Continue reading

Digital projects showcased in Monterey

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An item from New Mexico State University’s digitized Agricultural Extension Service records. Source: NMSU Library Digital Collections

At the third annual “lightning talks” session highlighting new (and some not so new) digital public history projects at the National Council on Public History conference, a dozen presenters showed off their work to a lunchtime audience.

Project Showcase: Gateway to U.S. Federal Reserve System centennial commemoration

screenshotDec. 23, 2013, marked the 100th anniversary of the passage of the Federal Reserve Act, which established the Federal Reserve as the central bank for the United States. Financial panics and bank runs plagued the nation during the 19th and early 20th centuries, and the Panic of 1907 prompted many Americans to call for a central bank. In response, Congress passed the Federal Reserve Act, which President Woodrow Wilson signed into law to provide our country with a more stable financial system.

The yearlong centennial commemoration is an opportunity for the Federal Reserve System to promote a greater understanding and awareness of the Fed, including its mandate, structure, and functions. To that end, all 12 Federal Reserve districts are represented on a commemorative Gateway website. Brief Fed facts, information about key economic events, details about individuals instrumental in shaping the Fed, and insights into the Fed’s purpose make up the 11,000 artifacts housed on this interactive site.
In addition to the System website, the St. Louis Fed has created its own centennial website where visitors can explore 100 years of historical materials from the Eighth District, including an interactive timeline, photos and audio clips, and historical documents.
Providing public access to economic information and data has long been an important mission for the St. Louis Fed. Anyone interested in learning more or conducting personal research about the Fed is encouraged to explore the FRASER archive, the Fed’s electronic archive, to discover more about 100 years of US central banking.

The St. Louis Fed’s Library has also assembled a Federal Reserve Centennial Information/Display Package for libraries wishing to provide a display or exhibit about the Fed.  All materials are provided free and do not need to be returned. The information/display package contains brochures, posters, CDs, DVDs, teacher lesson plans, a map, bags of shredded currency, and historical postcards of Fed buildings then and now. To request a packet, contact Kathy Cosgrove at Kathy.E.Cosgrove@stls.frb.org.

~ Jane M. Davis, Digital Library Projects Coordinator