In their work, Presence of the Past: Popular Uses of History in American Life , authors Roy Rosenzweig and David Thelen make the argument that historians often find themselves in a separate group from those that do not study history professionally due to the “present public ignorance of our cultural heritage.” To try and prove or disprove that theory, the book by Thelen and Rosenzweig studies how the typical American views the past through a series of surveys. The end result of the surveys showed that the typical American does try and engage with the past as much as possible.
The results of their surveys were as follows:
- More than 4/5 of those surveyed had taken photos to preserve memories
- 3/5 had visited a historical site or museum
- -2/5 had worked on hobbies related to the past such as genealogy
To these “popular history makers” it was decided that family and personal past is what matters to the typical American the most. And this is something, I believe that is becoming more and more popularized with enterprises such as Ancestry.com or various TV shows dedicated to studying genealogy. I believe this trend will only continue to grow as more and more Americans are taking several hundred pictures a year of their families. That specific statistic isn’t stated in the book; however it is supported. A majority of those that were surveyed take pictures to preserve memories and about ninety percent enjoy looking at old family photos.
In a separate survey, Thelen and Rosenzweig asked how connected to the past each person felt. It is true that less than a quarter of those surveyed felt like they had a special connection to United States history. The larger majority felt that they felt a connection with their personal past such as ethnic group. This seems to be in direct correlation with those that expressed their connection with family past and their experiences going through family photos and studying genealogy. An example of this from the book is of a man with African American ancestry in the south who felt a connection upon meeting his future wife via their shared experiences in growing up in the south in the 1950’s.
In their third survey, the pair tries to discover what types of “past” average Americans find to be most important. Again, like in the previous two examples, people for the most part chose the past that affects them directly using pronouns such as “we” and “our”. It appeared that many of the non-white groups that were surveyed had a more direct appreciation of their particular past. One Native American woman mentioned that her past and identification as a Native American made up who she was and helps develop her culture. She stated: “If we lose our culture then we cease to be Indians.”
As a result of their endeavor, Rosenzweig and Thelen can claim that they were able to prove several things. First off, historians who believe that they were in a separate group from the average American was correct in some degree. Many Americans saw “historian history” as something focused on famous people and events and something that they focused on in school and didn’t feel the need to put much thought into. (Of course this wasn’t every American). However, the assumption that the average American does not put much thought into the past is absolutely not true. Those Americans who identify with their culture, spend hours attempting to reconstruct their family history on Ancestry.com, and reminisce while cleaning out their grandma’s attic are taking a very personal look into the past which they can’t get from school or from historians.
It is of my personal opinion that as we are becoming more and more adept at capturing memories through photographs and find more convenience searching our family records through the digitization of those records the average Americans’ relationship with the past will only continue to grow.
Thelen and Rosenzweig also successfully prove the point that just because a memory does not include Robert E. Lee and the Battle of Gettysburg; doesn’t make it any less important or any less a part of history. As a teacher to students who weren’t born until 2002, my personal memories and recollections of what happened on September 11, 2001 are just as valid of a historical narrative as teaching them the names of the government officials who were there. My personal memories of September 11th and my grandma’s recollection of the JFK assassination or her father’s recollection of Pearl Harbor will not be found in any history book or recounted by any historian; but that doesn’t mean it is not reflective of the “presence of the past” for the average American.
Questions to Consider
1. Is it possible, from a public history standpoint, for our personal histories to have meaning for people outside our families or ethnic group?
2. What did the Native American woman mean when she said “if we lose our culture we cease to be Indians?”
3. How important is memory in maintaining the past?
Saturday, September 24, 2016
Wednesday, September 21, 2016
Public History project
For my public history project this
semester, Zach and I will be working with Dr. Gannon to create panels supporting
the Lone Sailor Navy Memorial in Blue Jacket Park. According to the website for the city of
Orlando, the Lone Sailor “is meant to inspire today’s youth and honor sea
service men and women and their families; past present and future. The memorial
will help to convey our appreciation to the men and women in the US Navy,
Marine Corps, Coast Guard and Merchant Marine who voluntarily put their lives
in harm’s way.” The purpose of having the memorial in this specific location is
because it used to serve as the Orlando Naval Training Center.
Those that funding the project (The Navy
League) need assistance in creating panels that demonstrate to viewers the
training process that Navy men and women go through. Dr Gannon also mentioned
to us that they are interested in including audio with this memorial. For example,
they would like to include a button that you can press and hear a service-person
give their testimony on the training process.
One of the UCF stakeholders that may be invested in this project would
be RICHES and our community partners would be the Navy League and probably even
the city of Orlando who support this project. We plan on using mostly primary
sources for this project. I believe mid-October we will have the opportunity to
interview several servicemen and women who served in Orlando while they are in
town for a reunion. Dr Gannon also shared with us that the UCF has several
tapes of recorded testimony. As far as secondary sources we are going to attempt
to use the resources located in the UCF Library as well as the historical
society to research the role that the Navy Recruitment Center played in
Orlando.
I do not know if we will be able to
accomplish the audio component of the memorial that the Navy League is
interested in; but hopefully we will be able to complete the panels for the
memorial in Blue Jacket Park.
Sunday, September 18, 2016
Understanding Jim Crow
Understanding Jim Crow
In his book, David Pilgrim discusses how his habit of
collecting racist memorabilia has turned into something much more.
With his collection, Pilgrim helped establish a museum
exhibit on the era of Jim Crow through paraphernalia from the age. Initially,
Pilgrim refers to his hobby as collecting “racist garbage”, a hobby that he
began as a teenager. As someone who is partially African American himself, he
felt inclined toward these objects even though they made him feel uncomfortable
enough that he was happy to eventually part with them and donate them to the
museum. He acknowledges that it was an unusual feeling for a collector to have
about his collection.
When Pilgrim was starting
his collection, acquiring these items was a lot easier to do than it would have
been for someone today. Perhaps a reflection of the changing times? Or
hopefully Americans are becoming more embarrassed by our history of “Mammy”
salt and pepper shakers and cartoons of black children eating over-sized
watermelons.
In the first section
of the book, Pilgrim tells us about his personal background and why he had the
collection, what it meant to him and how he came to establish the exhibit at
the university at which he worked. He notes that his teachers and professors
have never failed to mention the achievements of men like Frederick Douglass or
W.E.B. DuBois so it wasn’t as if African Americans had been completely passed
by in history class; but he raises the question of why he never heard any of
his professors discuss the average African American. Pilgrim also acknowledges that
most Americans know that slavery was not good and that it happened and now it’s
over and that the civil rights of movement of the 1960’s took place and it
happened and now it’s over. What doesn’t
even seem to get acknowledged is the traumatic era in our history known as “Jim
Crow” which took place in the hundred years between the end of the Civil War
and the beginning of the Civil Rights movement. So if it’s not being discussed in
our schools, how can we make it available to students and their parents and
encourage people to have an open discussion about this dark period in our
history where blacks were being kept from expressing their constitutional
rights and being murdered in large numbers. That’s where Pilgrim’s racist
collection comes in.
Pilgrim expresses that the purpose of his exhibit is to “continue
the journey towards understanding and improving race relations,” despite the
fact that many people are unwilling or even afraid to take a good long hard
look at our racist past (and present due to the fact that Pilgrim is constantly
updating his exhibits with memorabilia surrounding the Trayvon Martin case and
the 2008 election of Barack Obama).
Pilgrim is essentially a scholar was has become an activist in his attempt
to encourage average Americans to discuss race and prejudice towards African
Americans. There is something inherently different about reading the statistics
on lynchings in the South and staring at a photograph of a white man standing
beside a black body; or how the white man’s view of African Americans was
created not from personal experience but from cartoons and depictions that they
saw of blacks in movies like Gone with
the Wind or Aunt Jemima or even whites portraying oafish blacks in minstrel
shows by painting their skin with pitch black grease paint. How could any white
person take blacks seriously when all they knew of them was Mammy and the lazy
black “coon” being portrayed in the minstrel shows around the country? Exhibits
like Pilgrim's force people to come face to face with pas they may not have
even known existed. It’s a lot easier to ignore text that it is to ignore the
hood of a member of the KKK staring at you in the face or a recreation of an
auction block used to sell slaves and destroy families.
I believe that the biggest difficulties for exhibits like
this and the new museum on African American history and culture opening as part
of the Smithsonian later this month is getting a non-black clientele to come
and experience what the exhibits have to offer. In regards to the Smithsonian, it was built for all Americans to come in and
experience African American history as a core part of American history;
however, as Pilgrims mentions several times in his book it is difficult to get
people to want to talk about or acknowledge their roles or the roles of their
ancestors in these atrocities. People are more willing to go and visit the
National Holocaust museum because they can distance themselves from the
perpetrators of those atrocities and say how terrible the Germans behaved while
also turning a blind of the United States’ treatment of both Japanese and
African Americans in their own country during the same period.
Hopefully more and more of these exhibits will appear across
the country as we try to become more comfortable with talking about our own
issues with race and we will be able to confront a replica of an auction block
in the Smithsonian or racist “trash” in the Jim Crow Museum the same way we and
have an open discussion about it and feel comfortable with addressing ours sins
and educating ourselves and other generations about the darker parts in our
history.
Questions to consider:
1.
How can memorabilia be interpreted as truth?
2.
Can racist memorabilia effective serve a non-racist
purpose?
3.
Can relics from the past help us discuss the
issues of today?
Sunday, September 11, 2016
Private History in Public
In Tammy Gordon’s book, Private
History in Public, she emphasizes the importance of museum exhibitions both
large and small all around the country. She organizes the various museum
exhibits into several different categories:
Academic: sponsored by
government or corporate donors where the exhibit is highly managed to determine
how the public will see it. An example of this would be almost any exhibit at
the Smithsonian. As an example, I included a link to the Smithsonian Museum of
American History’s exhibit on the American presidency. http://americanhistory.si.edu/exhibitions/american-presidency
This exhibit is sponsored by the US government with donations from government
officials, etc. and the purpose is to tell a story of a uniquely American role
that was filled by great men who were also average Americans. You can look at
some of the items in the collection online; but when you go and see the exhibit
in person, there are no negatives spins on any individual represented to be
found anywhere. This fits in with the character of an academic exhibit which as
Gordon reminds us “regularly stress traditional historical subjects like the
affairs of nation states and change over time.” (20)
Corporate these exhibits are
sponsored by a corporation (as can be seen by the name) to market a particular
interest. The average museum goer usually would not think of a museum exhibit
as attempting to make them purchase anything or do much other than inform them
of the history of their company organization. However, the best example that I
can think of (which Gordon discusses briefly in the book) would be the World of
Coca Cola in Atlanta, Georgia. The reason I decided to use this example is
because I have been to this exhibit and I can attest to the success of the
corporate goal of getting museum consumers to purchase and support this company’s
product. After three floors of this museum which include the history of their
company through pop art, artifacts, etc I found myself very eager to purchase a
coke by the time I had seen everything. https://www.worldofcoca-cola.com/explore/explore-inside/explore-milestones-refreshment/
Community exhibits are the
type which come in the most varieties and are usually produced by people who
have close ties to the subject matter being presented. The curators of these
exhibitions usually tend to promote their local heritage. This type of exhibit
is one that Gordon discusses very extensively in her book because it is the
type that is looked over the most often by the general public. Gordon defines
this exhibition as one which is often “motivated by people who have been
historically ‘othered’, people whose histories are told by those outside the
community… [it is] one way to claim local control over heritage resources and
to assert sovereignty.” (40) My own personal example of one of these would be
the heritage museum in Hendersonville, NC http://www.hendersoncountymuseum.com/
which tell the story of North Carolinian’s involvement in every war from the
American Revolution on and contain artifacts that were donated by members of
the community
Entrepreneurial exhibits “merge
trade history with personal history” (25) as well as “reflect the traditional role of
small business as well as the role of the small business person as one who is
committed to and reflective of the community.” (60) One of the examples. Gordon
included was Chicago’s International Museum of Surgical Science which features
several exhibitions not only on surgery but also with subject matter that
attempts to go outside the role of a traditional academic exhibit on the
history of surgery. The museum differs from corporate and academic museums by
presenting its theme in a “endearingly rustic, almost crude, in a
cobbled-together way..” which includes items such as Laura Splan’s drawings in
her own blood (63)
Vernacular are even more
difficult to pinpoint than community exhibits because they are usually
integrated in non-museum settings which require neither the “curator nor the
visitor [to] break from the activities of daily life in order to experience the
display.” (77) Since these are usually hard to come by, I decided to include a
personal example. The town that I used to live (Hendersonville, North Carolina)
has a turn of the century pharmacy turned café in its downtown district. For
purposes of brevity, I have included the link so the reader could learn more
about the history of the establishment themselves. http://mikesonmain.com/about However,
what I enjoyed most about the restaurant is their walls still contain artifacts
from when the building was used as a pharmacy in 1900 as well as when the store
front was used as a soda fountain around the 1950’s (the first of its kind and
the only one still operating in Hendersonville.) Below I have featured images
from the restaurant. I wasn’t able to find the small exhibition they have with
the turn of the century medicinal supplies, however.
. I believe Dr Crepau’s
exhibit on the bicentennial would fit in with his category nicely. I was
considering it a part of the entrepreneurial exhibit; but settled on this own
to be the more appropriate example due of a community exhibit due to the fact
that it presents a representation of everyday American life in 1975. It doesn’t
really represent a group of others but it tells a story of the American people
and how they celebrated the country’s bicentennial. Because there is no
government or corporate sponsor that story is being told by Dr Crepeau and the
members of the UCF community. However, Dr Crepau’s artifacts which will be
encompassed in the Art in Odd Places event
puts the exhibit into the vernacular category due to the fact that it will be
presented outside of the traditional museum space and will not force any viewer
to break from daily life in order to view it.
Questions to Consider:
1. Is it possible for a museum exhibition to fit in more than one of the categories introduced by Tammy Gordon?
2. Can a museum exhibit still be considered vernacular if a spectator goes out of their way to view it?
3. Do all of these examples of exhibits still try to sway the view of a spectator?
Questions to Consider:
1. Is it possible for a museum exhibition to fit in more than one of the categories introduced by Tammy Gordon?
2. Can a museum exhibit still be considered vernacular if a spectator goes out of their way to view it?
3. Do all of these examples of exhibits still try to sway the view of a spectator?
Thursday, September 1, 2016
The Living Archive
So, what is an archive exactly? How
can you define something so diverse?
Archives are a “site of knowledge
production’, they are the “arbiter[s] of truth” and can be used as a “mechanism
for shaping the narratives of history.” (2) Some historians even believe that
almost “everything” can constitute as an archive from documents to memory, to oral
histories, to music. It is also important to remember that an archive is not
the unbiased selection of facts that everyone might assume them to be.
The title of the work, Archive Stories, might be a good place
to look to understand what archives are.
Who knew that an archive had a
story to tell? Archives are “figured” and their relationships with the past
will usually be linked to the archivist or the institution that is given the
task of deciding what is important enough to include and what can be left out.
In the section written by Craig Robertson, he notes that archives can go through
a process of historicization (71)
which simply means that each archive has its own story to tell. Archivists use
their power to exclude and include to write whatever story it is that they
would like to tell which is why “scholars who use archives need to critically
analyze not only documents but also the institutions which house them.” (77)
Such as is stated in the selection on Mr. Peal’s archive: “Our archival stories
should not only recount our work with certain bodies of evidence in particular spaces,
but should also record our own political concerns and intellectual
preoccupations at the specific moments in which we read, transcribe,
paraphrase, and ponder source material.” It is important to keep in mind that
an archive will not provide the researcher with everything that they need, it
is merely tool to use on a very long journey of creating history. As Ann
Curthoys reminds us: “The historian’s proper role is to step into the shoes of
the past, to explain what people thought they were doing…” (357)
One archive tool that I enjoy utilizing
myself is the digital archive. Now that more and more archives are becoming
accessible to the public after becoming digitized, it is more important than
ever that the researcher keeps in mind what story they are being told and
whether or not that fits in with their own version of history. According to
Renee M. Sentilles, the digital archives are making it easier for the historian
to determine where their information is coming from because the digital
archives “raises the demands on historians to read, analyze, and incorporate
vast quantities of documents and information…” (145) More and more historians should be tempted to
take advantage of the wealth of opportunities afforded to them online. Right
now, anyone who wants to can access JStor and browse through hundreds of
periodicals and well organized pieces of data without leaving their home. “History is about how the past is alive and
active in the present, and never is that more clearly illustrated than on the
Web.” (147) So-called “amateur historians” can use this is a great opportunity
as well. How many amateur historians and genealogists sit at home instead of the
library pursuing Ancestry.com? For those who have not used Ancestry before, it
is a great tool full of digitized records. My favorite is the accessibility of
the records, the key words that I can use to search, and the transcription that
comes with many of the documents. You offered a wealth of information through
this digital archive that prior any researcher would have had to travel from
library to library looking through physical archives. I personally enjoy using
the census collections available to find a wealth of information about whomever
I am conducting research on. You can access name, date of birth, occupation,
family, language, etc. It is also perfect for studying a community over time.
Most of the work I can do from computer and it’ll record everything I need for
me. Digital archives are incredibly beneficial for the user. However, just
because the digital archives offer ease, it doesn’t mean that we should focus
primarily on this; but they are a perfect place to “begin and end the research
journey.” (155)
Questions to Consider:
1.
How can a researcher decide what is reliable
information? How can they make themselves aware of what is being omitted?
2.
What is the importance of understanding the “biography”
of an object?
3.
What traits can an individual have that make
them a living archive?
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