Editor’s Note: This series showcases the winners of the National Council on Public History’s awards for the best new work in the field. Today’s post is by Beth Bullock, Jayd Buteaux, and Leslie Morton, students in the Public History Program at the University of North Carolina-Wilmington.
Wide shot of part of the exhibit. Photo credit: Jayd Buteaux
The exhibit Push and Pull: Eastern European and Russian Migration to the Cape Fear Region introduces visitors to people such as Ann Mizerak, a descendant of Eastern European immigrants, and Roza Starodubtseva, a recent migrant from St. Petersburg. The exhibit shares their personal stories through narratives and personal belongings and benefits from the involvement of the immigrant community both in St. Helena, a small village that was founded as an immigrant farm colony, and in the city of Wilmington, North Carolina. The immigrant community was involved in all aspects of exhibit research and design, and the dependency on shared authority is evident in the exhibition’s focus on the their words and stories via direct quotes, QR codes linked to both audio and video, and personal artifacts. The ability to see and hear the words of the Russian and Eastern European immigrants has led to a powerful dialogue about culture, family traditions, modern immigration policies, stereotypes, media representations, and current events. Continue reading
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
Editor’s Note: This piece continues a series of posts related to the Guantánamo Public Memory Project, a collaboration of public history programs across the country to raise awareness of the long history of the US naval base at Guantánamo Bay (GTMO) and foster dialogue on its future. For an introduction to the series, please see this piece by the Project’s director, Liz Ševčenko.
Remembering, an act of courage.
Speaking and listening, a gesture of empathy.
My understanding of the US naval base at Guantánamo Bay (GTMO) comes primarily from my experiences as a Cuban refugee between the years 1994-1995 after the Balsero Rafter Crisis but also through my attempt to shed light on the complexity of the Cuban Diaspora via my project EntreVistas and most recently by learning and participating in the Guantánamo Public Memory Project. In 2008, I began interviewing Cuban immigrants mostly living in the United States from different waves of migration in Cuban history: the Early Exiles of the 1960s, the Mariel Boatlift immigrants of the 1980s and the Balseros of 1994.
January 8, 2008 – Caguas, Puerto Rico
I placed a video camera in front of my father, handing him a microphone. “What is your name?” I asked. He looked at me in silence. At the time he was serving as a volunteer doctor in Puerto Rico. I wanted to ask him about how he felt about his decision to leave Cuba and the aftermath but ended up surrendering, understanding that he wasn’t ready to speak, at least not in front of a video camera. He went to the balcony to smoke a cigarette.
As a full-time consulting historian, it is difficult to carve out time for my own research interests. Michael Adamson has discussed this challenge in this space.
In graduate school, I studied Farm Security Administration documentary photography. Upon starting my business, I found little time to continue my research–until a year ago. While researching images in the FSA collection, I found several hundred photographs of Japanese American labor camps in the Pacific Northwest, taken by Russell Lee in the summer of 1942. The sole Oregon camp–near the town of Nyssa in Malheur County–was created to bring in laborers for the sugar beet crop. Continue reading
Left to right: Roger Gregory, Eric King, Tom Robinson, Joel (J.T. Speed) Murphy at the bar at Blind Willies. October 24, 1990. (Photo: David S. Rotenstein)
Can you remember where you worked during graduate school? To pay my way through Penn in the 1980s and 1990s I worked in cultural resource management and as a freelance writer. Although history and material culture are my true professional loves, the writing gig was the more interesting, though less profitable, job.
During a two-year break from classes–it’s a long story–I began writing a blues column for a short-lived Atlanta alt-weekly called Footnotes. Between August 1990 and March 1991, I wrote performance reviews and feature stories about musicians derived from lengthy tape-recorded interviews. I also interviewed bar owners and others to develop background material for future stories.
By the time I decided to return to Penn to finish my coursework, Footnotes had folded and I had begun writing about folk and blues music for the Philadelphia Inquirer, the Charlotte Observer, and other papers and magazines throughout the United States. Always the historian, I held onto my research files and interviews, including verbatim transcripts for many of them. Continue reading
Doing public programs is never easy, but it is the most immediate and rewarding way to engage directly with your audience. This past semester, the Cooperstown Graduate Program’s oral history project experimented with a new type of public program. Taking our cue from the statewide “Community Conversations” sponsored by the New York Council for the Humanities, which also provided funding for our project, we decided to use our large archive of oral histories as the basis for a series of dialogues about important environmental topics. Continue reading