Proposing a Business and History program

 

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

“What are you going to do with a history degree?” Helping students navigate a graduate degree and career in public history

Public History Navigator. Screenshot courtesy Adina Langer

Public History Navigator screenshot

Every history major is familiar with this question, and while a few undergraduates may have an answer at the ready, many aren’t exactly sure what they want to do with their degree. For the past year and a half, the NCPH New Professional and Graduate Student Committee has worked hard to create a resource to better prepare undergraduates and graduate students to enter and succeed in the public history profession:

The Public History Navigator: How to Choose and Thrive in a Public History Graduate Program

Section one of this two-part guide investigates how to choose and apply to a graduate program and encourages students to find the right program and degree for their ultimate career goals. The second section includes tips on making the most of graduate school and how students can make themselves more marketable for the job hunt. Continue reading

Making a pop-up museum: Dusting off the Dark Ages

Photo credit: Ellen F. Arnold

Student exhibit panel. Photo credit: Ellen F. Arnold

At Ohio Wesleyan University, I teach an upper-level medieval history course, “Constantine to Charlemagne.” This is an undergraduate class, with 18 students of varying backgrounds. The course addresses a time period (ca. 300-850) often slandered as barbaric and backwards, so my goal is for students to see the richness, texture, and vibrancy of the period along with the political and economic troubles that befell certain areas. Over the course of the semester, as we work to understand a period famous for both its lack of historical sources and its network of diverging and converging cultures, we work together on how to explain and re-frame this period for a public audience.

A public history project like the one my students are embarking on this semester is unusual for medieval history courses. Though some medieval history professors and graduate students do discuss and practice public engagement through K-12 classroom visits, and libraries with important medieval manuscript collections are also reaching out to schools, the relative dearth of medieval history in American public history programs does not encourage many of us to think about the practice. Also, at many small schools like Ohio Wesleyan, there are no separate courses in public history. Yet more and more of my students are interested in public history, museum studies, and archival work. This project developed as a way to introduce students to the basic issues of museum design and audience engagement and to help them imagine a space for history that extends beyond the classroom. In our case, we are dusting off the ages and making a pop-up museum.

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“APUSH” in the right direction

Photo credit: Evan Graff, Flickr.

Photo credit: Evan Graff, Flickr.

As public historians, we like to think we know something about narrative. We know that human beings construct meaning through stories, and that history is the art of constructing compelling stories from the traces of the past. Psychologists have demonstrated the emotional and inspirational power of “hero’s journey” narratives in which protagonists overcome great odds through self-sacrifice and determination, and return from the journey with wisdom and gifts to improve the world. Such narratives emphasize the hero’s “exceptional” qualities, the ability to triumph over adversity and to serve as a guiding light to others.

Thus, it should come as no surprise that opponents of recent changes to the AP US History (APUSH) framework are so concerned about narrative emphasis. In August 2014, the Republican National Committee adopted a resolution condemning a framework released by the College Board in 2012. The resolution claims that the framework “reflects a radically revisionist view of American history that emphasizes (Italics mine) negative aspects of our nation’s history while omitting or minimizing positive aspects.” The resolution calls on Congress to “investigate the matter” and withhold any funding to the College Board until a suitable framework is produced. Continue reading

Top Gun “Introduction to Public History” for general education?

By Kucingbiru13 [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

A ‘top gun’ introduction to public history course for general education might be simpler than you’d think.

In 2006, when I arrived as “the public history hire” at DePaul University, in Chicago, my charge was to create an undergraduate public history concentration for history majors. At the time, the only public history course actively being taught was “Introduction to Public History,” a lower division course that served the university’s general education requirements. I decided that this course should stay on the books and that it would be one of two required courses (along with the internship) for would-be public history concentrators.

Looking back, I’m pretty sure my decision to keep this course on the books was a result of my being a bit overwhelmed. Not being native to Chicago and as a new tenure-line Assistant Professor with this public history charge, much of my time was absorbed with the business of forging new community connections while also designing (and getting approval for) an entirely new repertoire of public history courses. What? The “Introduction to Public History” has already been approved? Great! More time to develop internship prospects!

Within a few quarters, I resurrected the public history internship and developed a bevy of other courses: “Doing Local and Community History;” “Oral History Project;” “Women, Gender, and Public History;” “Living History and Historical Interpretation: American Historical Memory” (among others)–all courses for history majors and minors. Evaluations tended to be strong, but the “Introduction to Public History” course? I just couldn’t seem to ever get it quite right. Continue reading

Rethinking diversity: Dr. Rhonda Jones, public history is sexy

This is the fourth 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.

Joshua Trower works a table at the Country Doctor Museum in Bailey, North Carolina to provide outreach for the Pope House Museum, under the City of Raleigh Museum, in Raleigh, NC.

North Carolina Central University student Joshua Trower works a table at the Country Doctor Museum in Bailey, North Carolina, to provide outreach for the Pope House Museum, under the City of Raleigh Museum, in Raleigh, NC. Photo credit: Joshua Trower

Dr. Rhonda Jones is an Assistant Professor and Director of the Public History graduate program at North Carolina Central University in Durham, North Carolina. [1]  As one of the few Historically Black Colleges or Universities offering graduate level study in public history, museum studies, or library sciences, Jones sets a standard for public history instruction, training, and practice. By exposing her cohort of emerging public historians, which is comprised almost entirely of students of color, to innovative, practical coursework and diverse fieldwork opportunities, Jones is committed to training capable, well-rounded practitioners whose skills are coveted in any field. Jones offers fresh perspectives on graduate-level training, public history as it relates to students of color, and the state of diversity in the field.

AT: Tell me about yourself.

RJ: I discovered public history as an undergraduate at Howard University, and I worked with my mentor who directed the program, Dr. Elizabeth Clark-Lewis. My first fieldwork experience was working at the Mary McLeod Bethune Museum . . . from there I had [an] experience doing heritage tourism. I was involved with an oral history project with the DC Humanities Council where we interviewed African Americans who had migrated from the South and came to Washington who were living in a senior housing complex. We hosted a series of events that eventually became a documentary. After I graduated, I worked for a little while, didn’t do anything in history, and decided to come back to graduate school and went to Howard for my Master’s in Public History with the intent of working at a museum and doing education and public programming. When I finished the Master’s, I thought, “I’m doing really well, and I might as well just stick with my Doctorate,” because by then 9/11 happened, the bottom fell out, and there was really no place for me to go. Graduating in 2003, my first job was at the Center for Documentary Studies at Duke where I managed the Behind the Veil Project.

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Rethinking diversity: Chris Taylor, molding future public historians

2013 Fellows at the MN Historical Society Collections |Courtesy Chris Taylor

2013 Fellows at the Minnesota Historical Society Collections.  Photo credit: Chris Taylor

This is the third 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.

In developing this series, I sought out examples of public historians who are combating the diversity issue in creative and proactive ways. I looked for individuals who not only hoped to change the pool of future public historians but who employed tangible solutions that other museums and institutions could build on. One such individual is Chris Taylor, Diversity Outreach Program Manager at the Minnesota Historical Society (MHS).

Like many of the students he works with, Taylor took a nontraditional pathway to public history. His background in social sciences and education provided him with a unique opportunity to engage in the year-long Coca Cola Museum Fellows program, which exposed him to topics surrounding diversity and inclusion in museums. The experience inspired him to pursue a History Museum Studies graduate degree at the Cooperstown Graduate Program, which is led by pioneering African American museum professional Gretchen Sullivan Sorin. As a young museum professional, Taylor implemented a program at MHS modeled after the Coca Cola Museum Fellows program, and the MHS program has enjoyed nine years of success. In fact, the MHS Diversity Outreach Program was recently named the Diversity Outreach Department, making the society one of the only historical institutions in the United States to establish a permanent department focused solely on increasing its diversity and inclusion efforts.

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