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jpublichistory · 1 year

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RMA Project Blog Entry 4: Reflections

For this week's update on our project, we completed the project, and now we are going to be presenting the project to Mr. Matteson and Dr. Cheong on Monday. The work we all put into our project over the semester is impressive, and our final product looks really good. The art pieces we researched and studied to put this project together help show the themes and stories we are trying to represent in the revolutionary moments throughout the United States and how they are expressed during their creation.

Our project time ranges from the mid-1800s to the present to show the wide range of revolutionary moments shaping thoughts on debated subjects. The events and moments that we will show in our project will offer a wide range of issues that affected the people during the time and the reaction that the artist is trying to conduct through their art pieces. The first art piece we show in our project is titled Racism Doesn't Rest During a Pandemic Pee Chee (No Justice No Peace), and the creator of this piece is Patrick Martinez. He created this piece during 2019-2020, the Covid-19 pandemic, the Black Lives Matter Movement, and the 2020 elections. With all the events happening in these two years, his piece shows the emotional build-up from the Covid-19 lockdown that would lead to the creation of the Black Lives Matter Movement that would lead to the results of the 2020 elections. The following art piece we used for our project is titled Washington Moratorium, Washington DC, November, 1969, and the creator of the art piece is Larry Fink. The art piece shows a snapshot of the Civil Rights Movement at the height of the Civil Rights Era in the United States. This piece ties into the first piece because some of the events and ideas happening during the 1950s-60s were happening during 2019-2020.

These two art pieces reflect thoughts and emotions throughout 60 years of United States History. The following art piece we used in our project is called, Only on the Bones of the Oppressors can the People Freedom Be Found, and the creator of this art piece is Emory Douglas. This art piece is to show The Black Panthers and how they were fighting for their freedoms that were being held back because of society during the time. The figure in the art piece represents the fighting spirit that these Black Panthers had during the Civil Rights Era and that there was no end to the fight until they got the rights they had a right to in the United States of America. While we included so many art pieces in our project, the last art piece that I will talk about in this post is Then They Came For Me, and Patrick Martinez is the creator of this art piece. I like this piece the most because it revamps this famous poem meant to describe what happened during WW2 and the Holocaust from the 1930s-the 1940s. This poem was to describe the events outside the United States during the mid-1900s, but the poem still holds its meeting today. Patrick Martinez's use of neon lights allows the poem to evolve throughout history to warn future generations of what could happen if people stand by and do nothing in the face of what is wrong. This piece ties all the details together because we are showing the people that did not stand by and wait, which is a good way of organizing them into this group for this project.

Overall, I enjoyed working and completing this project with Sarah and Ross over the Spring Semester. I think that our group worked together so well that we were able to create this fantastic project for the Rollins Museum of Art. Looking back on this project, I am glad we got the chance to work with the Rollins Museum of Art and see all the fantastic art pieces and show how they relate to different themes and moods created throughout time. I learned a lot about how to display art and show how these art pieces can show historical changes throughout the United States and the rest of the world. I hope our project can help future students understand what happens during these events that occur during the history of the United States and the world through the lens of art pieces. I want to thank Mr. David Matteson and Dr. Cheong for having us complete this project during the semester.

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jpublichistory · 1 year

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RMA Project Blog Entry 3: Portfolio Draft

This is checkpoint three on our journey working with Rollins College's Museum of Art Museum. My group has submitted our project draft, and we await comments to make the project the best version possible. My part of the project was to fill out all the information on the art pieces and keywords that could be associated with the art we chose to include in our project. I learned more details about the different art pieces, how they were made, where Rollins College bought or was gifted from family members, the artist themselves, or from different universities around the United States that needed more room for them in their own collection.

One of the pieces that we are using in our project is called "Racism Doesn't Rest During a Pandemic Pee Chee (No Justice No Peace)," and the artist is named Patrick Martinez; he created this art piece in 2020 during the COvid-19 pandemic, George Floyd, and the 2020 presidential election. All these events simultaneously caused a social revolution that shifted many people into different viewpoints that shaped the America that we live in at the date of this post. Another art piece we use in our project is called "Snap the Whip," and the artist is Winslow Homer. Mr. Homer created this piece in 1873, almost ten years after the start of the American Civil War during the Reconstruction era of the United States. During this time, we see a rebirth of what America will stand for and what ideals and freedoms people will have in this new United States. However, the old ideas of what America should be did not die with the end of the Civil War; they only evolved into different aspects of living in America. Mr. Homer wants us to see that this time in America was a weak point that could either heal and repair the United States or crack back into society during the Civil War. The last piece I will add to this blog post is called "Then They Came For Me," and the creator of the art piece is again Patrick Martinez. He creates this piece in Neon lights to bring this quote into the modern glare with the neon to have people remember the holocaust and the impact that it still has to this day. This 1980s style gives the message a haunting feeling that we can never forget seeing. I think this piece speaks volumes about the message from almost 80 years ago.

Overall, my group is on track with the project timeline and should deliver a great project and product that can be used at Rollins College and other schools across the United States of America. I am learning a lot about the details of creating a lesson plan and the topics we want to show and teach throughout this project. I can not wait to finish this project this semester, present it to the class in the next couple of weeks, and make the project the best it can be.

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jpublichistory · 1 year

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Lit Review/Discussion Prep #10

In this week's readings, we learn how museums work and store the artifacts they present in their museums worldwide. I think this is good for us to understand because we know the theory of Public history and the responsibilities that Public and traditional historians have to preserve and present the history of the community.

In chapter 1, Collecting, Managing and Preserving the Past: Public History and Sources, in the book Public History, Thomas Cauvin writes about how Public historians collect and use different artifacts in their museums to show to the public.1 Public Historians collect items that traditional history may see as not worth saving because it does not fit into the "artifact" group to maintain the history of a community.2 Museums have become Public Historic laboratories where they can work on saving and preserving history the way they want to.3 While museums range from different topics and ideas, they preserve that history so future generations can see it.4 This book section helps me understand what the museum represents in Public History.

However, in the article, Are There Too Many House Museums? Richard Moe writes about how the traditional model of a museum needs to change to suit the next generation of tourists and Public historians.5 He writes that museums are sites of the story of the topic in that museum; the museum holds culture and ideas from a community that is shown through artifacts and items that represent the people and the Idea inside the museum.6 Museums across the US are similar in their structures and items inside them; he writes that museums need to reshape their models to bring more guests to their sites.7 This reading helps future Public historians understand some of the problems with museums and how to create a new model for their museum.

In the article, Mickey Mouse History and Other Essays on American Memory, Mike Wallace writes about how museums can be used to erase history from an area and replace it with what the local government wants to show as their history.8 He writes about how we teach history to students in public schools and how that history hinders the story of the whole history of the topic.9 A way that history has been erased is when the United States government destroyed a CD that contained Gay history. 10 This erasing of history hinders the growth of the history field because the deletion of particular topics of history creates holes in the history field that historians will have to go back and research the topics that were already researched.11

In the article, The Boundaries of Memory: The United States Holocaust Memorial Museum, Edward T. Linenthal writes about the creation of The United States Holocaust Memorial Museum and how this museum created a new standard for remembering events.12 He writes that we should, as Public historians, create moods of the events that took place during these events and help the guest understand the conditions people faced during the Holocaust and how something like this could have happened in the first place.13 He writes that this museum should be considered a monument instead of a museum because of the detail and remembrance of the people that the museum provides to the public and the victims of the Holocaust.14 This reading helps us see how to create a space of remembrance while informing the people about the events that took place. This ties in with the article, Spontaneous Memorials, Museums, and Public History: Memorialization of September 11, 2001, at the Pentagon. Elizabeth Greenspan writes about how to show the victims that died on this day and provide more information on the event.15 Using photos of the event and people that died helps people retain the memory of the event.16 It allows the survives to find peace from what happened on 9/11.17 The memorial at the Pentagon creates a mood of peace to the guest learning and seeing what happened here during 9/11.17 These two pieces help show us real examples of how Public historians are reshaping the Idea of museums.

In the last two articles, The Changing Face of Public History: The Chicago Historical Society and the Transformation of an American Museum and The Interpretation Is A-Changin' Memory, Museums, and Public History in Central Virginia, both authors write about the changes that were made to show different stories that where not there before. In the first article, Catherine Lewis writes that historians and the government may disagree on what should be considered to protect history.18 When historians protect and display art or history that they disagree with funding, it could be taken away.19 She counties to write that Public historians need to find new ways of showing disagreed subjects to tell all stories about the topic's history.20 In the last article, James J. Broomall writes about how the civil war was told in the community of Richmond, Virginia, and how Public historians change history to include how the city transformed throughout the civil war.21 By including the views of the African American Churchs in the community adds to the discussion of the impact of the civil in Richmond, Virginia.22 Overall, these two articles help show the community input in Public History and how it affects the history told in the community.

Footnotes:

1. Cauvin, Thomas. “Collecting, Managing and Preserving the Past: Public History and Sources.” In Public History. ?-?. 1st ed. New York: Routledge, 2016. 27

2. Cauvin, Thomas. “Collecting, Managing and Preserving the Past: Public History and Sources.” In Public History. ?-?. 1st ed. New York: Routledge, 2016. 28

3. Cauvin, Thomas. “Collecting, Managing and Preserving the Past: Public History and Sources.” In Public History. ?-?. 1st ed. New York: Routledge, 2016. 29

4. Cauvin, Thomas. “Collecting, Managing and Preserving the Past: Public History and Sources.” In Public History. ?-?. 1st ed. New York: Routledge, 2016 30

5. Moe, Richard. “Are There Too Many House Museums?” Forum Journal 27, no. 1 (2012): 55-61. 55

6. Moe, Richard. “Are There Too Many House Museums?” Forum Journal 27, no. 1 (2012): 55-61. 56

7. Moe, Richard. “Are There Too Many House Museums?” Forum Journal 27, no. 1 (2012): 55-61. 57

8. Wallace, Mike. Mickey Mouse History and Other Essays on American Memory. 3-32. Philadelphia: Temple University Press, 1996. 7

9.Wallace, Mike. Mickey Mouse History and Other Essays on American Memory. 3-32. Philadelphia: Temple University Press, 1996. 8

10, Wallace, Mike. Mickey Mouse History and Other Essays on American Memory. 3-32. Philadelphia: Temple University Press, 1996. 9

11. Wallace, Mike. Mickey Mouse History and Other Essays on American Memory. 3-32. Philadelphia: Temple University Press, 1996. 10

12. Linenthal, Edward T. “The Boundaries of Memory: The United States Holocaust Memorial Museum.” American Quarterly 46, no. 3 (1994): 406–33. 406

13. Linenthal, Edward T. “The Boundaries of Memory: The United States Holocaust Memorial Museum.” American Quarterly 46, no. 3 (1994): 406–33. 407

14. Linenthal, Edward T. “The Boundaries of Memory: The United States Holocaust Memorial Museum.” American Quarterly 46, no. 3 (1994): 406–33. 410

15. Greenspan, Elizabeth L. “Spontaneous Memorials, Museums, and Public History: Memorialization of September 11, 2001 at the Pentagon.” The Public Historian 25, no. 2 (2003): 129–32.129

16. Greenspan, Elizabeth L. “Spontaneous Memorials, Museums, and Public History: Memorialization of September 11, 2001 at the Pentagon.” The Public Historian 25, no. 2 (2003): 129–32. 130

17. Greenspan, Elizabeth L. “Spontaneous Memorials, Museums, and Public History: Memorialization of September 11, 2001 at the Pentagon.” The Public Historian 25, no. 2 (2003): 129–32. 131

18. Lewis, Catherine M. The Changing Face of Public History: The Chicago Historical Society and the Transformation of an American Museum. 3-34. Chicago: Northern Illinois University Press, 2005.3

19. Lewis, Catherine M. The Changing Face of Public History: The Chicago Historical Society and the Transformation of an American Museum. 3-34. Chicago: Northern Illinois University Press, 2005.4

20. Lewis, Catherine M. The Changing Face of Public History: The Chicago Historical Society and the Transformation of an American Museum. 3-34. Chicago: Northern Illinois University Press, 2005.6

21. Broomall, James J. “The Interpretation Is A-Changin’: Memory, Museums, and Public History in Central Virginia.” Journal of the Civil War Era 3, no. 1 (2013): 114–24.114

22. Broomall, James J. “The Interpretation Is A-Changin’: Memory, Museums, and Public History in Central Virginia.” Journal of the Civil War Era 3, no. 1 (2013): 114–24.115

bib

Broomall, James J. “The Interpretation Is A-Changin’: Memory, Museums, and Public History in Central Virginia.” Journal of the Civil War Era 3, no. 1 (2013): 114–24. Accessed March 31, 2023, http://www.jstor.org/stable/26062023

Cauvin, Thomas. “Collecting, Managing and Preserving the Past: Public History and Sources.” In Public History. ?-?. 1st ed. New York: Routledge, 2016.

Greenspan, Elizabeth L. “Spontaneous Memorials, Museums, and Public History: Memorialization of September 11, 2001 at the Pentagon.” The Public Historian 25, no. 2 (2003): 129–32. Accessed March 31, 2023, https://doi.org/10.1525/tph.2003.25.2.129

Lewis, Catherine M. The Changing Face of Public History: The Chicago Historical Society and the Transformation of an American Museum. 3-34. Chicago: Northern Illinois University Press, 2005.

Linenthal, Edward T. “The Boundaries of Memory: The United States Holocaust Memorial Museum.” American Quarterly 46, no. 3 (1994): 406–33. Accessed March 31, 2023, https://doi.org/10.2307/2713271

Moe, Richard. “Are There Too Many House Museums?” Forum Journal 27, no. 1 (2012): 55-61. Accessed March 31, 2023, muse.jhu.edu/article/494513.

Wallace, Mike. Mickey Mouse History and Other Essays on American Memory. 3-32. Philadelphia: Temple University Press, 1996.

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jpublichistory · 2 years

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Lit Review/Discussion Prep #9

In this week's readings, we are learning how historians can bring community engagement through their work with historic preservation. As historians, we need to safeguard all histories of an area so that people can see how the community transformed into the community that lives there now. Supporting the community you are working with helps create the need to preserve their community's history so that they are remembered and have their voices lost to future generations. While historians maintain the record of history, we can use the record to lift voices that were oppressed during their time, and we can provide them a space where their history can speak to future generations so that they can understand the growth of their local community and how that fits in the broader aspects of history.

In Chapter 12, Civic Engagement and Social Justice historians and Activists, of the book Public History Caunvin writes about the prominent roles that historians have to take to show a history of an area.1 He writes that Activist historians argue that we as historians can use history and our historical understanding to help groups that did not have a voice in their community during the time.2 Still, now they can have their voice back in the story of their local community and their impact there during their time.3 Public historians can take up this role in the community to help raise different groups to get involved and continue their group's history in their community.4 One group that he talks about in this chapter is Native Populations and how they are placed into the backdrop of the history of America and the focus on the beginning of how the United States of America was formed and anything before is forgotten about.5 He writes that historians from all forms should come together with cultural institutions to empower native people, tell and explain their history in the Americas, and show the history of the Native Americas and how they shaped and adopted their culture to survive in modern America.7 Native Americans are one of many groups in America that have historians, and their community needs to come together to show their history to the world.

Another group of people that Caunvin writes about is Migrants and how migrants fit their voice in the historical narrative of America.8 Because Migrants that come to America have trouble representing their voice in America's history because of misunderstandings and stereotypes that impact the community's voice.9 Also, Public Historians and traditional historians can show the history of Slavery and the impact of Jim Crow laws that hinder the African American people in America from creating a better life for themselves.10 Public History can help inform the people of these events that shapes these groups to fit in the society of their local community and national society over generations.

In the book Beyond Preservation Using Public History to Revitalize Inner Cities, Andrew Hurley writes about how historians can reshape inner cities by giving their communities a place to remember their history.11 He shows this in chapter 4, titled, History that Matters Integrating Research and Neighborhood Planning, and writes about how historians can help inner city communities to create an area to maintain their history through the buildings and shops that help show the culture of a space.12 He continues to write about how city locals can regain the power of redesigning their community to benefit them and persevere as much of their history as they want so that the world can see their community and culture that lives there and makes their city unique.13 An example of this happening is the CDC working with community leaders and historic businesses that the community uses to help maintain a safe environment for their history to counter in the city.14 Overall, this chapter shows how local people and historians can collaborate to create a space where their history is shown the way they want it to be shown.

These two readings are impactful to me with working with Dr.French on the Eatonville project that helps the people of Eatonville show their history in their community and how they show their history with different buildings and sites like the Hungerford High School that was used as a school and a community center for the locals in Eatonville. We can work with them to show the school's history and how the community works with the school for different local events that create a history that they want to show the world about their community.

Footnotes:

1. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 230

2. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 231

3. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 232

4. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016.233. 233

5. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 233

6. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 233

7. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 233

8. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 234

9. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. 235

10. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016.236

11. Andrew Hurley. 2010. Beyond Preservation : Using Public History to Revitalize Inner Cities. Urban Life, Landscape and Policy. Philadelphia: Temple University Press. 94

12. Andrew Hurley. 2010. Beyond Preservation : Using Public History to Revitalize Inner Cities. Urban Life, Landscape and Policy. Philadelphia: Temple University Press. 95

13. Andrew Hurley. 2010. Beyond Preservation : Using Public History to Revitalize Inner Cities. Urban Life, Landscape and Policy. Philadelphia: Temple University Press. 96

14. Andrew Hurley. 2010. Beyond Preservation : Using Public History to Revitalize Inner Cities. Urban Life, Landscape and Policy. Philadelphia: Temple University Press. 97

Bib

Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016.

Andrew Hurley. 2010. Beyond Preservation : Using Public History to Revitalize Inner Cities. Urban Life, Landscape and Policy. Philadelphia: Temple University Press. https://search.ebscohost.com/login.aspx?direct=true&AuthType=cookie,shib&db=nlebk&AN=314759&authtype=shib&site=ehost-live&scope=site.

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jpublichistory · 2 years

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Lit Review/Discussion Prep #8

In this week's readings, we dive into how Public History and historians dive into Public Spaces and how all public members interact within these spaces. Understanding Public Spaces plays a critical role in representing them in a historical context because when we know how the community used that public space in their society, we can understand more about that society's culture of that society. However, understanding the meaning of public space in society is complicated because many voices use public spaces, and those voices can overpower other purposes for that public space for that community in the area. As Public Historians and traditional historians, we need to understand how all the voices use the public space and how to represent them within our work so that their voices are remembered from that communities public space.

In the article, Using Radical Public History Tours to Reframe Urban Crime, the authors Rebecca Amato and Jeffrey T. Manuel dive into how Public historians can challenge how Public Places are shown throughout history and how the public spaces change, and how that affected the community in the changing area.1 The example that shows how public historians show this is in New York City and Saint Louis; showing these areas help show how different communities were affected by changes to their space in the city.2 In the New York example, public historians show what New York looked like in the late 1800s, how there were "slums," and how it looked like a "London pastime" with the crime in the dark alleyways created by the buildings in the city.3 Public Historians show these areas in New York City and preserve them to show tourists the living conditions of these people showing that the public can see the effects of space and its effects on the people living in the area.4 In the Saint Louis example, the Public historians in this city show the history more positively with the African American Music scene and the sites to see and eat at versus the crimes that happened in the city's history.5 By showing the good side of the city, they can have people keep coming back and have a steady stream of income to fund other aspects of the city.6 However, there are tours about the crime that happens in the city, but they are not advertised as much as the other tours that show the good side of the city.7

In the following article, Imagined Conversations and Activist Lineages Public Histories of Queer Homeless Youth Organizing and the Policing of Public Space in San Francisco's Tenderloin, 1960s and Present, Joey Plaster writes about the homeless in San Francisco and how organizations tried to help the people reclaim their space from the governement.8 During the 1960s, there was limited space for people in San Francisco, and no houses were available for those who wanted to make their life there.9 With police controlling the spaces where people were protesting and using their voices for change.9 These events spark organizations to help people find homes, make their lives in the city, and reclaim the government-controlled space.10 This article shows how people can recall their space and make their voices heard by reclaiming their public space.

In the book, The Power of Place: Urban Landscapes as Public History, Dolores Hayden writes about how different people see Public Spaces and how people that control the public space can control the story of that space.11 She dives into how contested space in the community can affect history and how the area is presented to the tourist and community through Public History.12 Space can be created by maps, buildings, and other items that the community creates to show the location in their soicty.13 Hayden dives into the Los Angeles area and how the community and public historians offer their space through different voices and aspects of the community over time.14 An example of this space in the book is the artist's view of the city and how the street signs are in Spanish and English to show the people that lived there during this time.15

Overall, Public Spaces are shown by how Public and Traditional historians view the culture and people of the community over time. Many voices in the community can create different versions of how we see the city or space that the people use over time. This week's readings were great because they deepened my understanding of Public Space and how the community's and historians' voices shape the space for the public to see and understand.

Footnotes

1.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224. pg. 212

2.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 214

3.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 216

4.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 218

5.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 220

6.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 221

7.Amato, Rebecca and Manual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224 pg. 222

8.Plaster, Joey. “Imagined Conversations and Activist Lineages: Public Histories of Queer Homeless Youth Organizing and the Policing of Public Space in San Francisco’s Tenderloin, 1960s and Present.” Radical History Review 113 (2012): 99–110. 100

9.Plaster, Joey. “Imagined Conversations and Activist Lineages: Public Histories of Queer Homeless Youth Organizing and the Policing of Public Space in San Francisco’s Tenderloin, 1960s and Present.” Radical History Review 113 (2012): 99–110. 103

10.Plaster, Joey. “Imagined Conversations and Activist Lineages: Public Histories of Queer Homeless Youth Organizing and the Policing of Public Space in San Francisco’s Tenderloin, 1960s and Present.” Radical History Review 113 (2012): 99–110. 107

11. Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995. 3

12. Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995. 4

13. Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995. 18

14. Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995. 94

15. Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995. 95

Bib

Bibanual, T, Jeffery. Using Radical Public History Tours to Reframe Urban Crime. Radical History Review 113, 2012: 212-224

Hayden, Dolores. The Power of Place: Urban Landscapes as Public History. Cambridge: The MIT Press, 1995.

Plaster, Joey. “Imagined Conversations and Activist Lineages: Public Histories of Queer Homeless Youth Organizing and the Policing of Public Space in San Francisco’s Tenderloin, 1960s and Present.” Radical History Review 113 (2012): 99–110.

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jpublichistory · 2 years

Text

Lit Review/Discussion Prep #7

In this week's readings on Public History, we learn how Public Historians try to balance providing a historical site for the community while focusing on Heritage Tourism and the Commodification of the Past. Historical sites need financial aid to maintain the site in a usable condition so that the community can see their history being preserved correctly so that generations can see their history. However, profiting from the historic site can be controversial because the site's primary goal is to inform and present the history of the community to the public and not to be doing this public work to profit from the community.

In chapter 4, Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site, Ruth McManus and Gerry O'Reilly writes about how Public Historians has used Irish history more as a product than an information site for tourist and the community in this area.1 They write that Public Historians in Ireland must show how Ireland was transformed into the culture we understand and see today.2 While continuing to read this chapter, Ireland has a significant GDP percentage in tourism that supports over 200,000 jobs in the country; this section of the economy helps support Ireland as a whole and the local businesses that profit from the tourist coming into the local towns.3 Without this section in Ireland's economy, they would take a hit that would affect all aspects of the economy locally and nationwide.4 They write about contested land that was fought over and how historians should not be profiting over this event because while they are profiting, hundreds of people died for their right to that land.5 Public Historians need to show the people's sacrifice over fighting for that land and the freedoms they believed in during the time.6 This reading helps us understand the real-world problems that circle historical sites and the profit that can benefit the whole country while respecting the historical events in that area.7 The locals, national government, and historical institutions work together to benefit the most in economic and historical understanding while showing the sites to the tourists traveling to Ireland.

In the second reading, Packaging the Past, Britt Baillie, Afroditi Chatzoglou, and Shadia Taha write about how the community heritage is called into question in how they are presented to the world and also questioning the goals of "information" verse profit when marketing these historical sites all over the world.8 For historians to understand the problems they see in these communities, we need to take it back to theory and how theory in the history field can help future communities and Public historians to create heritage sites that benefit the course of information of the community rather than profit.9 They get into how historians used Marx's definitions of product and the exchange of commerce between people of a community.10 They write that we as public and traditional historians need to think about the product in commerce as a service rather than a money transfer in these heritage sites worldwide.11 That was the standard for how these heritage sites operated, and the rise of problems that accord from this way of thinking.12

In the article, Between War and Tropics: Heritage Tourism in Postwar Okinawa, Gerald Figal writes about how the Battle of Okinawa has weaved into the site's modern-day uses and how historians need to balance the new with the old.13 While the United States Government wants the site to be respected to honor the men who died in the Battle of Okinawa, the Japanese Government wants to use the land to promote tourism and produce profits that the Japanese government can use in other projects.14 This struggle between two governments on the use of the land and how these conflicts between the governments cause confusion on the historical site and the problems of profiting over respecting the historical events on the land.15

In the last reading, Cities for Sale: Merchandising History at South Street Seaport, Christine Boyer writes about how a historical seaport has been replaced by financial institutions that developed the land and the port that used to be there.16 The author explains how New York has held profits over historic preservation in creating these districts that destroy the area's history.17 While writing about the history of New York City, with Main Street and Wall Street being the city's business centers, the creation of financial institutions all over the city hinders the story and the picture of New York City's history.18 This piece shows how public historians save the history of a city that promotes profits over historical sites all over the city limits.19

Overall, these pieces help show the problems with historical sites and the economic aspect of the community. Protecting the history of a community is essential, and providing the community a place where they can benefit from as well betters everyone. Public Historians need to find a balance in this endeavor and give the people a place where their history is protected and help the locals in return.

Footnotes:

1. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 53

2. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 54

3. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 55

4. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 56

5. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 57

6. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 58

7. McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. pg. 59

8. Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. pg. 51

9. Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. pg. 53

10. Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. pg. 58

11. Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. pg. 63

12. Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. pg. 66

13. Figal, Gerald. “Between War and Tropics: Heritage Tourism in Postwar Okinawa.” The Public Historian 30, no. 2 (Spring 2008): 83-107. 83

14. Figal, Gerald. “Between War and Tropics: Heritage Tourism in Postwar Okinawa.” The Public Historian 30, no. 2 (Spring 2008): 83-107. 85

15. Figal, Gerald. “Between War and Tropics: Heritage Tourism in Postwar Okinawa.” The Public Historian 30, no. 2 (Spring 2008): 83-107. pg. 90

16. Boyer, Christine. "Cities for Sale: Merchandising History at South Street Seaport.” In Variations on a Theme Park. Edited by Michael Sorkin, 181-204. New York: Hill and Wang: 1992. pg. 182

17. Boyer, Christine. "Cities for Sale: Merchandising History at South Street Seaport.” In Variations on a Theme Park. Edited by Michael Sorkin, 181-204. New York: Hill and Wang: 1992. pg. 190

18. Boyer, Christine. "Cities for Sale: Merchandising History at South Street Seaport.” In Variations on a Theme Park. Edited by Michael Sorkin, 181-204. New York: Hill and Wang: 1992. pg. 193

19. Boyer, Christine. "Cities for Sale: Merchandising History at South Street Seaport.” In Variations on a Theme Park. Edited by Michael Sorkin, 181-204. New York: Hill and Wang: 1992. pg. 194

Bib

Baillie, Britt, Afroditi Chatzoglou, and Shadia Taha. "Packaging the Past: The Commodification of Heritage." Heritage Management 3, no. 1 ( 2010): 51-71. Accessed March 5, 2023, https://doi.org/10.1179/hma.2010.3.1.51

Boyer, Christine. "Cities for Sale: Merchandising History at South Street Seaport.” In Variations on a Theme Park. Edited by Michael Sorkin, 181-204. New York: Hill and Wang: 1992.

Figal, Gerald. “Between War and Tropics: Heritage Tourism in Postwar Okinawa.” The Public Historian 30, no. 2 (Spring 2008): 83-107. Accessed March 5, 2023, https://doi.org/10.1525/tph.2008.30.2.83

McManus, Ruth and Gerry O'Reilly. "Heritage Tourism and the Commodification of Contested Spaces: Ireland and the Battle of the Boyne Site." In Heritage and Tourism in Britain and Ireland. Edited by Glenn Hooper, 53-69. London: Palgrave MacMillan UK, 2017. ProQuest Ebook Central, accessed March 5, 2023, https://ebookcentral.proquest.com/lib/ucf/detail.action?docID=4812818

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jpublichistory · 2 years

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RMA Project Blog Entry 2: Introduction & Checklist

For this week's RMA check-in, my group with Sarah and Ross has submitted the Introduction & Checklist to be checked so we can move on to the next section of the project. Sarah and I worked on the introduction, and Ross made the spreadsheet with all the art pieces we used for our project. I think our group picked a wide range of art pieces to convey our theme of Revolutionary Moments and show how these moments steer the progression of America and the issues that the Country faced over 200 years in America's History. One of the pieces we use is called the Snap the Whip, while the youngest art piece is called Racism Doesn't Rest During a Pandemic Pee Chee (No Justice No Peace); we use pieces that are from different times in America to show that Revolutionary Moments spans throughout time and space and not just a one-time event.

I like all the art pieces we have chosen because each shows the people's emotions during the time and how that affects the Revolutionary Moment being demonstrated through the art piece and from the artist. Our introduction says, "This portfolio shows how these events provided people with points in time to push for, and against, change in America." that is what revolutionary moments are about, with different ideas of how to shape the direction of America for their time and how their actions during these events shaped how other people act during future revolutionary moments that in this project. Seeing the social and political changes from these events changes the idea of what America stands for and the future goals of the country at home and abroad. While this project timeline of artworks spans over 200 years, the connection of each artwork has to the idea of change and ideas for the United States of America for their present and our future. The revolutionary moments in our project helps show the social placement in American Society that people are in and how the average person can change the direction of the country with protest, art, and other methods of getting their voice out to the public and spreading show much to change the direction of the country.

Overall, working on this project in the Public history course helps show how students can use the ideas and theories we learn from class and apply them to different forms of projects. Art is one of the best ways to show and represent a revolutionary moment because the artist creates a visual that everyone can see and interpret the meaning and reasoning for why this type of art was produced and the emotional backing for creating this art to capture the event in American History. Creating different themes for these artworks helps show that not all revolutionary moments are the same, and the creation of the moments is different from when they were in America. I can not wait to continue to work on this project and produce a product that the public can see and understand one day.

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jpublichistory · 2 years

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Lit Review/Discussion Prep #6

In this week's readings, we learn about how Public Historians create and maintain archives and how to preserve the history they present to the public or use in their academic work. Preservation of History is an important goal for all historians, no matter what section of history they study or create in the public or academic fields. Preservation is a problematic concept to act on because an institution of power and financial aid to create and store the artifacts and their work for years. This causes historians to try to find the "most important" historical item to store over another and how to protect the memory of the things that they cannot store by themselves or by the institution they work for in either the public/private or the academic fields. This is an exciting topic to me because I watch a show called "Murder Among the Mormons" on Nextflix about how the Mormon Church bought historical items from the locals and all over the world that has any historical items that can create a story that is not approved by the Church of LDS( Latter Day Saints). When the Church of LDS bought these artifacts about the Mormon religion, they would store these documents and only allow their approved historians to examine these documents. This shows how private organizations can collect and store historical documents and artifacts to control the narrivates of the Mormon Church. While this show takes place in the 1980s, this is an example of how powerful organizations with solid financial backing can control history through the ideals of Historic Preservation.

In chapter 2 of the book Public History, Thomas Cauvin writes about the ideals and how historians practice Historic Preservation. Cauvin writes about how historic preservation is not a well-funded endeavor and that people that preserve history outside the federal government need to partner up with different organizations that may only allow a certain amount of space that can not hold all the documents or items that induvial have in their collection.1 While historic preservation has become more community-oriented, the goal is to preserve that history for future generations that are involved in that community.2 While the start of Historic Preservation with the backing of wealthy Americans like John D. Rockefeller and Henry Ford, more and more communities without wealthy funded communities are reaching out to universities and members of other communities to preserve their history for future scholars and community members.3 Cauvin helps us to understand the slow humble beginnings of historic preservation and how it took off with the financial backing of wealthy Americans and the federal government during the 1900s.4 As the years go on, more and more local communities either need more funding or space for their historical artifacts that we find ourselves as scholars now.

In the book, A Richer Heritage: Historic Preservation in the Twenty-First Century, Robert E. Stipe reflects on the different sites, and government acts that were created during the 20th century and how these projects and acts impact and effects Historic Preservation in the 21st century.4 Stipe writes about how the 1960s was the launching point for historic preservation because the federal government and local communities focused more on saving their history for future generations.5 Stipe writes that the Tax Reform Act of 1976 allowed the federal government to fund Historic Preservation projects that would preserve American history and Ideals.6 While the federal government can fund and push a vision of America that they want to show, this can leave out groups of people that contribute to American History that the federal government deemed to conflict with its vision of America during the mid-1900s.7 Overall, the 20th century allowed the growth of Historic Preservation and allowed the public to be informed about how the local community can be involved in the project; we can work work with more communities and groups of people that are outside the mindset of Historic Preservation by the federal government.

Lastly, in the article, An Architect's Fear That Preservation Distorts, Nicolai Ouroussoff writes about how Historic Preservation caused people to misremember history and historical events in America.8 While the Federal government can create a vision they want to promote and show for people in America and people from all over the world, this can leave out groups that do not promote Ideal America that the government wants to show the world.9 This article shows the downside of Historic Preservation and how it can be used to change history to benefit certain people in the United States of America.10

These interesting readings about the history and uses of Historic Preservation opened my eyes to how groups and governments approach this topic.

Footnotes:

1. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. pg. 56

2. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. pg. 57

3. Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016. pg. 58

4. Stipe, Robert E. A Richer Heritage: Historic Preservation in the Twenty-First Century. University of North Carolina Press, 2007. pg.10

5. Stipe, Robert E. A Richer Heritage: Historic Preservation in the Twenty-First Century. University of North Carolina Press, 2007. pg. 11

6 Stipe, Robert E. A Richer Heritage: Historic Preservation in the Twenty-First Century. University of North Carolina Press, 2007. pg. 12

7. Stipe, Robert E. A Richer Heritage: Historic Preservation in the Twenty-First Century. University of North Carolina Press, 2007. pg. 13

8.Ouroussoff, Nicolai. “An Architect's Fear That Preservation Distorts.” The New York Times, The New York Times, 23 May 2011, pg.1

9. Ouroussoff, Nicolai. “An Architect's Fear That Preservation Distorts.” The New York Times, The New York Times, 23 May 2011, pg.1

10. Ouroussoff, Nicolai. “An Architect's Fear That Preservation Distorts.” The New York Times, The New York Times, 23 May 2011, pg.1

Bib

Cauvin, Thomas. Public History : a Textbook of Practice. New York ;: Routledge, 2016.

Ouroussoff, Nicolai. “An Architect's Fear That Preservation Distorts.” The New York Times, The New York Times, 23 May 2011, https://www.nytimes.com/2011/05/24/arts/design/cronocaos-by-rem-koolhaas-at-the-new-museum.html?_r=1.

Stipe, Robert E. A Richer Heritage: Historic Preservation in the Twenty-First Century. University of North Carolina Press, 2007.

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jpublichistory · 2 years

Text

Lit Review/Discussion Prep #5

As historians, we produce our understanding of a community's history in many forms. While reading this week two reading it opens my eyes to how people produce public history in both spaces that are public and academic. Public History allows historians to interact with both worlds and produce a historical understanding of the present versus waiting for their book and article to weave through the academic circles in hopes of being taught or found by future students in history. However, while Public Historians interact within both worlds of history to get credit for their work in the public space in the academic world, they still have to produce books and articles established by Traditional historians. It is the other way the public sees books and papers compared to museums and tours in their community. While Public Historians create double the creations that an average historian makes, they are only seen for the work that mirrors the side of the public or for academia during the time. Public Historians show the divisions that the traditional historical and the general community have and how Public historians create works in both fields to connect them in understanding the history that they studied and developed.

In Chapter 4 of the book Public History, Cauvin Thomas beings the chapter with this quote from Jerome De Groot, a professor of Literature and Culture at the University of Manchester, that reads "that most historians "still rely on books to establish their authority, to develop their profile, and to make money."" .1 This is a surprising quote at the beginning of the chapter because I thought that historians produce books and papers to get their work out to the community in a unified form that all historians used before the creation and mainstream career that is in Public History. I like how in the first section of this chapter, Thomas writes about these two different writing styles that Public Historians have to deal with while producing work. He goes in and writes that Public historians are taught in school to write history in an academic form because that is how traditional historians produce and share their work with the community.2 Public historians now need to write history that the public would understand and remember from their visit to the museum or tour of the site where the Public historian is working.3 With the conflict in the language that Public Historians have to deal with while focusing on the history of their study.4 While historians are becoming more and more relaxed in how they produce their written work by accepting news articles and other forms of written history about their study, this caused the work they accept to expand.5

Now, historians who dive into the alternate history field can be accepted into academic writing and works, however; the alternate history works that are taken into the academic world need to be well researched and have the backing of traditional historians that can say that the alternate history proposed in the book could happen.6 While the written work of historians that are not traditional historians is being accepted as academic work with a higher requirement to be considered academic, Public Historians still need to write about the creations that allow the public to interact with their history to be a part of the conversation in academic history.7 This chapter helps show how the work accepted by academia is expanded; it has not expanded enough for Public Historians.

The book. The House on Diamond Hill, Tiya Miles shows that working on this unique research on this house was seen as academic work once the book was produced. This House shows the transformation of the south back when the Native Americans owned the land to the Southern Americans and the Sothern Ideals to now relations of the history of the site.8 This site shows so much history and how real people were affected by the transforming New World into the land we understand today.9 What surprised me while reading this book and understanding this house was the records of the enslaved people that lived and worked on the property. Having the records of the people that own the land provides a story by itself of how people are connected through their ownership of land and buildings.10

Overall, seeing what Public Historians have to produce to get credit from both sides, the public and academic people, surprised me the most. Also, reading a project that dealt with the problems discussed in the Public History Book to what happened in real life with The House on Diamond Hill drove the point even further for my understanding of the problems of producing work as a Public Historian.

Footnotes:

1. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 115

2. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 116

3. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 117

4. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 117

5. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 118

6. Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016. pg. 119

7. Miles, Tiya. The House on Diamond Hill a Cherokee Plantation Story. Chapel Hill: University of North Carolina Press, 2010.

8.Miles, Tiya. The House on Diamond Hill a Cherokee Plantation Story. Chapel Hill: University of North Carolina Press, 2010. pg.1

9.Miles, Tiya. The House on Diamond Hill a Cherokee Plantation Story. Chapel Hill: University of North Carolina Press, 2010. pg. 220

10. Miles, Tiya. The House on Diamond Hill a Cherokee Plantation Story. Chapel Hill: University of North Carolina Press, 2010. 221

Bib

Cauvin, Thomas. “Digital Public History.” In Public History. 1st ed. New York: Routledge, 2016.

Miles, Tiya. The House on Diamond Hill a Cherokee Plantation Story. Chapel Hill: University of North Carolina Press, 2010.

0 notes

jpublichistory · 2 years

Text

Lit Review/Discussion Prep #4

In this week's reading for Public History, we dive into the digital aspect of Public History and how Digital Tool allows these historians to create a history that the public can see. Digital History is one of the newer forms of designing and producing history for the world and using the online world to show the public and the academic world how their work can be displayed and how people from all over the world can see their work online. This new field of history allows contemporary historians to branch out and integrate with a wide range of people through their work and through the World Wide Web. Digital History, while younger than Public history, faces the same problems and reactions to this new field of historical understanding.

In chapter 4 of the book Public History, Thomas Calvin writes about the subfield that is made up of Digital Historians and Public Historians called Digital Public historians, and this field helps support both areas in how they produce and publish their work online. He starts by writing about the rise of Digital history and how computers have impacted the whole field of history.1 Historians have used computers since the 1960s to analyze and compute enormous amounts of information to organize and present this information in books and articles.2 Historians used computers just for data computing and organizing. However, computers got advanced, and historians can do more to that data to show the public and other people in the academic world.3 While these two fields mix to form this new subfield of Digital Public History, this field helps Public historians produce their works for the online world.

In the article, What is Digital History, Douglas Seefeldt and William G. Thomas create questions that traditional historians have about Digital History because this is a new topic and field in the historical and academic world. They write that Digital History is "an approach to examining and representing the past that works with the new communication technologies of the computer, the internet network." this piece sums up Digital History and how we use it to understand History.4 Also, this quote allows the academic community to understand the field, what digital historians are doing to create their work, and how the public interacts with their work online. I enjoyed reading this article and understanding more about Digital History and what it means to be a Digital Historian. Also, in the article, Computing, and the Historical Imagination, William G. Thomas II writes about the history of Digital History and how it started in the 1960s when Public History was making more of presents in the historical field.5 I liked how he divided the history of Digital History into different eras to see the impact that Digital history had over the years and in the different eras.6

While the previous articles have dived into how and what Digital History was and the goals of this field, the article, Promises and Perils of Digital History, Daniel J. Cohen and Roy Rosenzweig write about how Digital History affected the field of history and how this impact caused historians to question the power of the internet and what works are shown in this new online world.7 The quote that stands out in this article is "the Internet does not distinguish between the true and the false, the important and the trivial, the enduring and the ephemeral. . . . Every source appearing on the screen has the same weight and credibility as every other; no authority is 'privileged' over any other." while reading this quote, I understand now the feelings of the traditional historian felt during the rise of digital history.8 These questions and concerns of Digital History are also talked about in the article "JAH “Interchange: The Promise of Digital History,” where digital historians sit and talk about digital history so that the academic world can see and not fear using digital tools in their projects in the future.9 Having this roundtable helped sell digital history to the historical community and academia as a whole.8

Overall, this week's sections of readings help show the digital history impact on Public history from the 1960s to 2023, over 60 years of hit and forming this new field called Digital Public History. While I took Digital History last semester and Digital Tools this semester, I did not know the impact this field has on Public history so much that it created its subfield of Digital Public History. I enjoyed reading this week's readings about the relationship between Public and Digital History.

Footnotes:

1. Cauvin, Thomas (2016). Public History: A Textbook of Practice (1st ed.). Routledge. https://doi.org/10.4324/9781315718255 pg. 174

2. Cauvin, Thomas (2016). Public History: A Textbook of Practice (1st ed.). Routledge. https://doi.org/10.4324/9781315718255. pg, 175

3. Cauvin, Thomas (2016). Public History: A Textbook of Practice (1st ed.). Routledge. https://doi.org/10.4324/9781315718255. pg. 176

4.Seefeldt, Douglas, and William G. Thomas "What Is Digital History?: Perspectives on History: AHA." What Is Digital History? | Perspectives on History | AHA. Accessed January 18, 2023. https://www.historians.org/research-and-publications/perspectives-on-history/may-2009/what-is-digital-history. pg. 1

5. Thomas, William G. II. "Computing and the Historical Imagination." In A Companion to Digital Humanities. Eds. Susan Schreibman, Ray Siemens, John Unsworth. Oxford: Blackwell, 2004. Accessed January 31, 2023, https://companions.digitalhumanities.org/DH/? pg. 1 chapter=content/9781405103213_chapter_5.html

6. Thomas, William G. II. "Computing and the Historical Imagination." In A Companion to Digital Humanities. Eds. Susan Schreibman, Ray Siemens, John Unsworth. Oxford: Blackwell, 2004. Accessed January 31, 2023, https://companions.digitalhumanities.org/DH/? pg.1 chapter=content/9781405103213_chapter_5.html

7.Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023, pg.1

8.Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023,pg.1

9. Cohen, Daniel J., et al. “Interchange: The Promise of Digital History.” The Journal of American History 95, no. 2 (September 2008). 452-491. Accessed January 31, 2023, https://www.jstor.org/stable/25095630 pg. 452

10. Cohen, Daniel J., et al. “Interchange: The Promise of Digital History.” The Journal of American History 95, no. 2 (September 2008). 452-491. Accessed January 31, 2023, https://www.jstor.org/stable/25095630 pg. 453

Bib

Cauvin, Thomas (2016). Public History: A Textbook of Practice (1st ed.). Routledge. https://doi.org/10.4324/9781315718255

Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023, https://chnm.gmu.edu/digitalhistory/introduction/

Cohen, Daniel J., et al. “Interchange: The Promise of Digital History.” The Journal of American History 95, no. 2 (September 2008). 452-491. Accessed January 31, 2023, https://www.jstor.org/stable/25095630

Seefeldt, Douglas, and William G. Thomas "What Is Digital History?: Perspectives on History: AHA." What Is Digital History? | Perspectives on History | AHA. Accessed January 18, 2023. https://www.historians.org/research-and-publications/perspectives-on-history/may-2009/what-is-digital-history.

Thomas, William G. II. "Computing and the Historical Imagination." In A Companion to Digital Humanities. Eds. Susan Schreibman, Ray Siemens, John Unsworth. Oxford: Blackwell, 2004. Accessed January 31, 2023, https://companions.digitalhumanities.org/DH/?chapter=content/9781405103213_chapter_5.html

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jpublichistory · 2 years

Text

RMA Blog Entry 1: Proposal

In my and my group's journey working with Rollins College'sMuseum of Art, I made difficult decisions about what type of art fits into our group's visions for our project. We, as a team, decide to focus on the theme of Revolution and how artists represent Revolutions over the ages. While we as a group, show three examples of art pieces that show Revolutions in our proposal, we have many other artists that we will use to represent this theme that we list at the end of our proposals. We wanted to explore the theme of Revolution because these events are great turning points for different counties and social norms that we change as a society to try to make a better version of our world.

The piece that I included for this project is Winslow Homer's 1873 Snap the Whip. This artwork was created during the Reconstruction era in the United States. During this time, the United States was at the crossroads of changing the social, political, and economic landscape. This artwork shows these crossroads by representing the problems the United faced and is still facing in certain parts of the country and how we can grow from this point. The title, Snap the Whip, does not show anyone being whipped; however, it shows white children that represent the "future" of the United States by painting some kids holding back other kids from causing harm to the African-American kids in this painting. This painting shows the racial problems that the country was facing during the 1870s and the relapse that the country could go back to after years of warfare in the United States. This is a complex painting like the others we have in our project that shows so many concepts and Revolutions during this time that shows the conflicts that the United States saw during the 1870s. This is one of the oldest paintings we are using to show the theme of Revolutions because we want to offer a wide range of periods and see how the fight and issues change over time.

The youngest painting that we are using in this project is Patrick Martinez's 2020 Racism Doesn't Rest During a Pandemic Pee Chee (No Justice No Peace), showing the changing social norms and rethinking policing powers in the United States. This painting shows the reality that people in the United States lived during the Covid-19 Pandemic and the social conflicts that boiled over from the death of George Floyd and the Protest and riots that came after his death from police. This painting shows the mood of the United States during 2020 through its use of colors and images that it uses to show the social Revolutions in the United States during the 2020s. Overall, this project helps establish the ever-changing social norms and ideas of the United States and the revolutions that the United States needed to make the change that the people wanted for the country during their time. Researching this theme helps me understand how Revolutions change and reflect society during the time of the art being created. We are at the research stage and do not know how to present the project to show this theme effectively.

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jpublichistory · 2 years

Text

Lit Review/Discussion Prep #3

Public History and Digital History are tied together in how historians present their work. With the rise and transfer into this new way of scholarship in the history field, as historians, we need to know how the transfer began and the conversations that were had in for and against the rise of Digital history and the use of it in the Public History field. While we understand the start of Digital History and where digital history is used right now, we also need to remember how digital history will fit into the future of the history Field and how it can be used in subfields of history, including Public History.

In Thomas Cauvin's book, Public History, he dives into Digital history and how digital history has grown in the Public Hisotry field. He writes about how historians have debated and argued about the new skills and responsibilities that Digital Historians need to have while working with digital tools during their projects and if historians need to update how to present their work to the online world in this digital age of history.1 He dives into the vessels of how digital and public projects and papers are shown online.2 Using different coding programs can dictate how long the website can survive in the online world and how comfortably historians and the public use their websites.3 Since this book was written before the announcement and the removal of Flash Player from the online world, many websites and projects got erased from people on the internet from viewing and using their work to further future projects. It makes sense to code websites using HTML, as Cauvin says, because the current online world needs HTML to survive the ever-changing internet.4 This section of his book provides the digital public historian a launching point into how to use digital tools to reach the public less physically.

While Calvin's book provides a good start in discussing Digital History and its use in public history, William G. Thomas II provides a deep history of Digital History starting back in the 1960s and 70s when computers became mainstream as data collectors and storage devices.5 He would write in the section, Computing, and the Historical Imagination, that historians have this new technology that we should use to expand and grow the field of history by analyzing mass amounts of data with ease and open new doors to how historians collect and keep information from the mid-1900s to now.6 This in-depth history ties in with the article, What is Public history, where William G. Thomas II and Douglas Seefeldt try to help the community to understand what is this new and upcoming (for the time) field of Digital History and how historians should approach this field and incorporate digital tools in their works.7 This article tries to explain a complex field by explaining what it looks like and what tools historians can use that are considered digital tools.8 This article is the benchmark for people to understand how and what digital history and tools you can use in your work.

While these articles help document what digital history is and the uses that digital history and tools have in the field of history and the subfield of public history from the mid-1900s to now, this section of my post will look into the questions that historians have over time about digital history. In the article, Introduction: Promises and Perils of Digital History, Roy Rosenzweig and Daniel J. Cohen write that using digital tools in historical projects can provide a fast, interconnected world that historians can use to create and use data to further the field of history.9 The most significant problem these people write about regarding the use of digital tools in the history field is that because it is on the internet, that does not mean it is true.10 This statemate allows historians to question digital history more than other published work because they want the truth about history to live on without people creating false information that could corrupt future research.11 These questions in this article are also questions that can be found in the article, JAH "Interchange: The Promise of Digital History", where one of the first people was writing about and using Digital History.12 The people in this interview talked about what digital history is, and one of the best explanations of this topic is from William J. Turkle, which lists all the key ideas and items that have to be a part of the project to be considered Digital History.13 These interviews provide what the first people writing about digital history thought about the field and how this field can grow in the future.

Overall, these articles and books help us understand the history of Digital History and the future of Digital History in Public History. This week helped me learn more about Digital History.

Footnotes:

1. Cauvin, Thomas. “Digital Public History.” In Public History. 174-187. 1st ed. New York: Routledge, 2016. pg. 174

2. Cauvin, Thomas. “Digital Public History.” In Public History. 174-187. 1st ed. New York: Routledge, 2016. pg. 175

3. Cauvin, Thomas. “Digital Public History.” In Public History. 174-187. 1st ed. New York: Routledge, 2016. pg. 181

4. Cauvin, Thomas. “Digital Public History.” In Public History. 174-187. 1st ed. New York: Routledge, 2016. pg. 181

7. Seefeldt, Douglas and William G. Thomas. "What is Digital History?" AHA Perspectives on History. (May 1, 2009). Accessed January 17, 2023, https://www.historians.org/research-and-publications/perspectives-on-history/may-2009/what-is-digital-history

8.Seefeldt, Douglas and William G. Thomas. "What is Digital History?" AHA Perspectives on History. (May 1, 2009). Accessed January 17, 2023, https://www.historians.org/research-and-publications/perspectives-on-history/may-2009/what-is-digital-history

9. Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023, https://chnm.gmu.edu/digitalhistory/introduction/

10. Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023, https://chnm.gmu.edu/digitalhistory/introduction/

11. Cohen, Daniel J. and Roy Rosenzweig, "Introduction: Promises and Perils of Digital History," in Digital History: A Guide to Gathering, Presenting, and Preserving the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. Accessed January 17, 2023, https://chnm.gmu.edu/digitalhistory/introduction/

12. Cohen, Daniel J., et al. “Interchange: The Promise of Digital History.” The Journal of American History 95, no. 2 (September 2008). 452-491. Accessed January 31, 2023, https://www.jstor.org/stable/25095630. pg.454

13. Cohen, Daniel J., et al. “Interchange: The Promise of Digital History.” The Journal of American History 95, no. 2 (September 2008). 452-491. Accessed January 31, 2023, https://www.jstor.org/stable/25095630 pg. 455

Bibliography

Cauvin, Thomas. “Digital Public History.” In Public History. 174-187. 1st ed. New York: Routledge, 2016.

Seefeldt, Douglas and William G. Thomas. "What is Digital History?" AHA Perspectives on History. (May 1, 2009). Accessed January 17, 2023, https://www.historians.org/research-and-publications/perspectives-on-history/may-2009/what-is-digital-history

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jpublichistory · 2 years

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Lit Review/Discussion Prep #2:

Having control over the nation's identity starts by controlling how the public remembers and sees its history for generations for its population and other countries' populations. In this week's readings, I would pull out the theme of defining and nationalizing American History in Public History. I think the articles and book assigned for this week deal with three major historical events and social changes in United States History. These articles and books are great for understanding the nationalization of public history in the United States on these issues.

In the book, History Wars: The Enola Gay and Other Battles for the American Past, Edward Linenthal and Tom Engelhardt include articles that explain how the United States shaped its history so that they can have a story that furthers the goals of the federal government. In the first chapter, Edward Linenthal talks about his experience working for the National Parks and his work representing controversial battlefields and providing a fair story for that history.1 The Enola Gay history is most contentious because of the use of atomic weapons on civilians during the end of World War 2.2 Trying to show national pride with an achievement while respecting the victims of that achievement.3 He also writes that while wanting to show the Enola Gay and its history in World War 2, that the United States public did not want to be reminded of nuclear weapons and the United States' use of them during World War 2.3 In chapter 3, “Whose History Is It Anyway? Memory, Politics, and Historical Scholarship.”, Paul Boyer writes about the Vietnam war and the problems of telling a story to a public that didn't want to be in the war in the first place.5 While creating a remembrance of the Vietnam War, he had to think about all the people involved in this conflict and how to include their story without subtracting from other people's memories about the conflict.6 While Paul Boyer explains how the scholarship of Public History has changed while working with battlefields and war memory to represent the conflicts during this time while respecting all parties involved in the conflict.7 The final chapter in this reading is chapter 5, “History at Risk: The Case of the Enola Gay.”, Richard H. Kohn writes about the removal of the Enola Gay exhibit and how history is at risk of being removed and the public forgetting history.8 Removing history and exhibits due to public pressure is a dangerous idea because a group of people can remove history and cause people to forget about the historical event and cause a miss remembrance of the historical events during World War 2 and other wars and battles that happen during the United States history.9 I find this chilling because while recording history that has conflict in it, presenting it to the public allows the remembrance of the events so that future generations can understand how the United States has grown and the conflicts that shaped policies and social norms that shape the United States now and to the future.10

In the following reading, “Slavery in American History: An Uncomfortable National Dialogue.”, James Oliver Horton writes about how we communicate and understand Slavery in America and how to show the public this when we create public exhibits and show history to the public.11 The readings say that a survey showed that white Americans think that racial discrimination was isolated and not as impactful now as it was back then.12 Reading this shocked me because of the civil rights movement and civil unrest with arrests and stereotypes of African-Americans during this time and the rise of Islamophobia in the United States.

In the last reading, “The 150-Year War: The Struggle to Create and Control Civil War Memory at Fort Sumter National Monument", Olivia Williams Black writes about talking presenting the History of Fort Sumter and the Civil War to the public and how location influences how the history is given to the United States public.13 She writes about how the local community tries to control the narrative and provides a revised version of the start of the Civil War and how the Confederate States of America's goals were during this war against the Union.14 This was an exciting read because it shows the external and internal controls that influence Public Historians and how these influences shape Fort Sumter and the start of the American Civil War to the local and national public of the United States.

In Chapter 3 of the book Public History, Cauvin writes about what oral history is and how Oral history has impacted the field of Public History. Examples of Oral history that Public Historians use to tell the story of the community during the time that the Public Historian wants to show are tv, radio shows, and personal video records of the time.15 This research in Oral history can help show different family histories of that community and how it changes over time. Oral History helps Public historians add the community to their projects and allows the community to see their history in one place.

Overall, these readings show the problems that Public Historians have to go through while creating history accessible available to the public and how the local and national public interest affects the history of the event that the Public Historian is trying to show.

Footnotes:

1. Linenthal, Edward T. “Anatomy of a Controversy.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 9-62. New York: Henry Holt and Company, 1996. 1

2. Linenthal, Edward T. “Anatomy of a Controversy.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 9-62. New York: Henry Holt and Company, 1996. 11

3. Linenthal, Edward T. “Anatomy of a Controversy.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 9-62. New York: Henry Holt and Company, 1996. 11

4. Linenthal, Edward T. “Anatomy of a Controversy.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 9-62. New York: Henry Holt and Company, 1996. 12

5. Boyer, Paul. “Whose History Is It Anyway? Memory, Politics, and Historical Scholarship.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 115-139. New York: Henry Holt and Company, 1996. 120

6. Boyer, Paul. “Whose History Is It Anyway? Memory, Politics, and Historical Scholarship.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 115-139. New York: Henry Holt and Company, 1996. 130

7. Boyer, Paul. “Whose History Is It Anyway? Memory, Politics, and Historical Scholarship.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 115-139. New York: Henry Holt and Company, 1996. 132

8. Kohn, Richard H. “History at Risk: The Case of the Enola Gay.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 140-170. New York: Henry Holt and Company, 1996. 141

9. Kohn, Richard H. “History at Risk: The Case of the Enola Gay.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 140-170. New York: Henry Holt and Company, 1996. 142

10. Kohn, Richard H. “History at Risk: The Case of the Enola Gay.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 140-170. New York: Henry Holt and Company, 1996. 143

11. Horton, James Oliver. “Slavery in American History: An Uncomfortable National Dialogue.” In Slavery and Public History: The Tough Stuff of American Memory. Editors James O. and Lois E. Horton, 35-55. New York: The New Press, 2006. 36

12 Horton, James Oliver. “Slavery in American History: An Uncomfortable National Dialogue.” In Slavery and Public History: The Tough Stuff of American Memory. Editors James O. and Lois E. Horton, 35-55. New York: The New Press, 2006. 37

13. Black, Olivia Williams. “The 150-Year War: The Struggle to Create and Control Civil War Memory at Fort Sumter National Monument.” The Public Historian 38, no. 4 (November 2016). 149-166.150

14 Black, Olivia Williams. “The 150-Year War: The Struggle to Create and Control Civil War Memory at Fort Sumter National Monument.” The Public Historian 38, no. 4 (November 2016). 149-166. 160

15.Cauvin, T. (2016). Public History: A Textbook of Practice (1st ed.). Routledge. pg. 95

Bibliography

Black, Olivia Williams. “The 150-Year War: The Struggle to Create and Control Civil War Memory at Fort Sumter National Monument.” The Public Historian 38, no. 4 (November 2016). 149-166.

Boyer, Paul. “Whose History Is It Anyway? Memory, Politics, and Historical Scholarship.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 115-139. New York: Henry Holt and Company, 1996.

Cauvin, T. (2016). Public History: A Textbook of Practice (1st ed.). Routledge. https://doi.org/10.4324/9781315718255

Horton, James Oliver. “Slavery in American History: An Uncomfortable National Dialogue.” In Slavery and Public History: The Tough Stuff of American Memory. Editors James O. and Lois E. Horton, 35-55. New York: The New Press, 2006.

Kohn, Richard H. “History at Risk: The Case of the Enola Gay.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 140-170. New York: Henry Holt and Company, 1996.

Linenthal, Edward T. “Anatomy of a Controversy.” In History Wars: The Enola Gay and Other Battles for the American Past. Editors Edward T. Linenthal and Tom Engelhardt, 9-62. New York: Henry Holt and Company, 1996.

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jpublichistory · 2 years

Text

Lit Review/Discussion Prep #1: What is Public History?

This week's readings helped me understand the beginnings of Public History and how this new field has changed history. While there are many views of what should be considered Public History, I understand that Public History is an agreement that scholars in the field of History make with the community that they are working to show how the community has grown throughout the ages. I think that historians can be academic and public historians simultaneously because the history they study shows the growth of communities and situations over time. However, while they produce their work in the academic field, they would have to provide something that the community can use to progress their history so that their story can still be communicated with the people of the community and so that they do not lose their voice because of the academic world of history.

In the article, Historians and Their Publics, Alan Brinkley writes that Public Historians provide a new way of showing their work and understanding the history of a community by allowing the community to add their versions of history.1 This leads to the Thompson Marxist thought of cultural history that took over the history field in the early 70s to late 90s—allowing the community and not just the elite academics to dictate what is history and what isn't history. I love that Brinkly includes a section about Communist-controlled History in the Czechs because while we in the United States do not have a Supreme Government controlled of history, we still have people who have the power to prevent the narrative of history across academia.2 The symbolism that Alan Brinkley uses to show the reader the state that the field of history was is during the creation of the Public History section of history and for future new sections of history to learn the hardships of becoming real history in the eyes of academia.

To continue this line of thought on the creation of Public History and how Public History fits into the narrative of the History field, the article, Everyman his own Historian, Carl Becker, writes about the facts that we declare as history.3 I like how he splits history into two sections "the actual series of events that once occurred; and the ideal series that we affirm and hold in memory.", and this separation of the field of history helps support the need for Public History.4 He continues to write that Everyman's History is the history that the public understands and will remember throughout time, while the few will understand academic history.5

In the book, Museums, Monuments, and National Parks: Toward a New Genealogy of Public History, Denise D. Meringolo writes how the United States Government became involved in academic work and the fields of academia during the 1830s because the government wanted to expand its influnce and control over America and western thought in academia. 7 This nationalist thought of controlling the history of a nation through the government was on the rise from the 1830s to the 1970s, when historians would come and break the mold of what the work looks like in the professional field. 6 This control over fields in academia has affected the way historians conducted themselves and how they produced their work so that others in the field can understand their research and expand the field through the eyes of the people that controlled the academic world. 8 The book's last section is dedicated to what role public historians have and who they should work for while they work on their history; I fully believe that Public Historians should work for the community that they record history about and be a medium between the world of academia and the community world. In this section, Meringolo writes that the role of a Public History is to keep up with the government's history and ensure that the community understands its place in the United States of America.9

Overall, while reading all the articles and books for this week's readings, I saw a more nationalistic view of history and the control of history throughout the world. Trying to produce history without the consent of the elite academics caused a riff in the idea of history because people tried to control the concept of history and the producing of history that locked out foremost historians with new theories and ideas about topics in the past. I enjoyed the readings for this week, and I think that these readings helped expand my knowledge of what Public History is and can be in the future of historical understanding.

Footnmotes

1. Brinkley, Alan. “Historians and Their Publics.” Journal of American History 81, no. 3 (December 1994): 1027-1030. pg. 1028

2. Brinkley, Alan. “Historians and Their Publics.” Journal of American History 81, no. 3 (December 1994): 1027-1030. pg. 1030

3. Becker, Carl. “Everyman His Own Historian.” The American Historical Review 37, no.2 (January, 1932): 221-236. pg, 221

4. Becker, Carl. “Everyman His Own Historian.” The American Historical Review 37, no.2 (January, 1932): 221-236. pg, 222

5. Becker, Carl. “Everyman His Own Historian.” The American Historical Review 37, no.2 (January, 1932): 221-236. pg, 235

6. Meringolo, Denise D. Museums, Monuments, and National Parks: Toward a New Genealogy of Public History. Amherst and Boston: University of Massachusetts Press, 2012. pg. 3

7. Meringolo, Denise D. Museums, Monuments, and National Parks: Toward a New Genealogy of Public History. Amherst and Boston: University of Massachusetts Press, 2012. pg. 7

8. Meringolo, Denise D. Museums, Monuments, and National Parks: Toward a New Genealogy of Public History. Amherst and Boston: University of Massachusetts Press, 2012. pg. 9

9. Meringolo, Denise D. Museums, Monuments, and National Parks: Toward a New Genealogy of Public History. Amherst and Boston: University of Massachusetts Press, 2012. pg. 133

Bibliography

Becker, Carl. “Everyman His Own Historian.” The American Historical Review 37, no.2 (January, 1932): 221-236. Accessed January 9, 2023, http://www.jstor.org/stable/1838208

Brinkley, Alan. “Historians and Their Publics.” Journal of American History 81, no. 3 (December 1994): 1027-1030. Accessed January 9, 2023, http://www.jstor.org/stable/2081443

Meringolo, Christine D. Museums, Monuments, and National Parks: Toward a New Genealogy of Public History. Amherst and Boston: University of Massachusetts Press, 2012.

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