Ken Turino, Sara Bhatia, and I are currently compiling the index for our book Interpreting Christmas at Museums and Historic Sites, while the other authors are meticulously reviewing the proofs for any final corrections. But we are much more excited to announce that we have a colorful cover featuring images from Old World Wisconsin and Strawbery Banke, and that Rowman and Littlefield have made the 270-page book available for pre-orders at this link.
To get a start on the holidays, join us in July when we’ll be hosting a live AASLH webinar, “Jingle All the Way: Maximizing Your Museum’s Holiday Potential.” Drawing from some of the insights in the book, we’ll discuss how your historic house or history museum can leverage December’s holiday season to enhance community engagement. Mark your calendar for July 23 at 3 p.m. Eastern and secure your spot by registering here for $45 ($25 for AASLH members).
For a preliminary glimpse inside Interpreting Christmas, I’m sharing the proofs for the table of contents and introduction. Just remember, they’re publisher’s proofs so they are subject to change!
Entrance hall, National Cowboy and Western Heritage Museum, Oklahoma City.
At the National Cowboy and Western Heritage Museum in Oklahoma City, a monumental bright white sculpture of an Indian slouched on a horse fills the end of the entrance hall. James Earle Fraser created “The End of the Trail” for the 1915 Panama-Pacific International Exposition in San Francisco, earning him a Gold Medal. It also became a popular image that signaled the end of a free people.
The Museum acquired the plaster statue from Tulare County (California) Historical Society, where it sat outside in a city park deteriorating for nearly 50 years. Now the restored statue is the centerpiece of this large museum and they’ve used this one object to hit a triple with visitors, to borrow a phrase from baseball.
Along with a typical label describing the sculpture’s creation, acquisition, and significance, it includes a Native American View in a second label of equal length by Dr. R. David Edmunds, a Cherokee. He states that the sculpture represents the popular view of “a nineteenth century Indian warrior defeated and bound for oblivion—frozen in time. By the 1890s, Native Americans knew their trail had become steep and rocky, but they believed it would continue.” The label continues to discuss the challenges and opportunities faced by Native Americans in the 20th century and that “being Indian has never been cast in stone. Today, Native Americans proudly ride forward on a trail into the future.”
Labels for “The End of The Trail” by James Earle Fraser, National Cowboy and Western Heritage Museum, Oklahoma City.
The use of labels to provide multiple perspectives is not uncommon in art museums, but I haven’t seen it used enough in history museums. They are ideal places to show that events, places, and eras are experienced differently by different people. It’s an easy way to enrich interpretation without the need to create entirely new exhibitions or special events on women, African Americans, or Native Americans.
Washington County Museum of Fine Arts, Hagerstown, Maryland.
On my first day on the road, I made my first stop just after an hour in Hagerstown, Maryland to see the Washington County Museum of Fine Arts. Set in a county park near its historic downtown, it has a surprisingly fine collection of American and European art from 17th to 19th century. Exemplary portraits by the Peale family, bronze sculptures by Rodin, vases by Tiffany and Lalique, and pots by George Ohr are found among its collections of 7,000 objects–that’s small compared to most art museums. Along with displaying their collections, they also organize temporary exhibitions, such as one on Joshua Johnson (ca. 1763-1824) of Baltimore, the first professional African-American painter. Anna Brugh Singer and her husband William H. Singer, Jr. (heirs to a family fortune, not of sewing machine fame) established the museum in the 1931 after they had traveled the world.
More interesting, however, was my discussion with board president Roger Fairbourn and curator Daniel Fulco about the vision of the museum. It’s clear they don’t want to collect more to become another Metropolitan Museum of Art, but they do plan to grow. They are hosting more ambitious traveling exhibitions, such as the current one on 17th century Italian paintings. They are adding more facilities for education, but that’s in response to community interest. They are expanding their collections, but it is to diverse their American art by including under-represented stories and move further into the 20th century. They also recognize their primary audience is the surrounding four counties, not tourists. Their strengths are uncommon and a refreshing change from the usual bigger-is-better, get-more-tourists mentality that usually infests the minds of museums. This is a tough position to take because it goes against the usual metrics, in this case, smaller is better.
Washington County Museum of Fine Arts, Hagerstown, Maryland.
Another surprise: a board president who can explain the history of the museum, its vision for the future, and discuss the significance of the current exhibition. I happened to run into him accident, when he caught me taking photos outside and stopped to chat. When I expressed my interest in the history and management of the museum, he took me around to the side of the museum to explain the physical evolution of the building, then took me inside to talk about the exhibitions and their vision. While we were chatting, he noticed another visitor was puzzled by the Johnson exhibition, so he stopped to describe its significance and pointed out a painting that might interest her. And he didn’t do it by flaunting his position at the museum (he just introduced himself as Roger). What!? If anyone on your board of trustees can do this, you’re in luck. Most can’t.
Visiting these small art museums verifies that small history museums, which dominant the field, can be effective and worthy organizations. They just need to develop a vision that pursues impact on their audience rather than size of collections or attendance.
The “Silence is Not an Option” banner on the website of the Birmingham Civil Rights Institute links to their statement.
Across the country, history museums and historical societies have issued statements in response to the recent police killing of George Floyd and protests against racism—but it’s a mixed bag. I’ve examined more than fifty history organizations and found that while there are some common values in the field, there’s a wide disparity of thought.
Who is Concerned?
About twenty percent of the history organizations in this study made no statement but it is likely lower because statements were posted on websites, as news releases, sent as emails to members, or shared on Twitter or Facebook (and rarely on more than one channel), which makes it difficult to easily collect statements. Where you make a statement is just as important as what you say. Listing a “Statement from the CEO” in the “Press” section of a website is different from a banner on the home page is different from an email sent to a few hundred members is different from a single tweet.
“A Message from the Arizona Historical Society” on the News page of the Arizona Historical Society website.
Typically, the CEO or executive director issued the statement and very few included the board chair. Did the CEO take a personal risk to issue a statement? Are boards unwilling to get involved or unable to achieve consensus? Will current events force organizations to rethink their mission, vision, or values?
Without conducting interviews, it’s unclear why this pattern exists. It could be uncertainty about what to say, fear of offending donors or their community, a lack of consensus among staff and board, a policy on statements, or an effort to avoid conflict or current events. Nevertheless, the patterns are revealing and suggest that history organizations have a long way to go in their efforts to be a relevant and meaningful part of their entire community. I strongly encourage all history organizations who are making statements to include them on their websites—unless there’s an important reason to avoid it.
History organizations issued their statements as early as May 30 and most during the first week of June, about a week after George Floyd’s murder on May 25 and when the protests had spread nationally. These statements are more challenging to write and I know some went through extensive review processes to gain consensus and approval, which can take days to accomplish. I also sense that Floyd’s death was a tipping point for many organizations because African Americans had been senselessly killed for decades but rarely had historical societies responded. About half of the statements mentioned George Floyd by name and about a quarter also included Ahmaud Arbery and Breonna Taylor, so recent events seem to have been the greatest influence on these statements. About ten percent named other victims as far back as the beating of Rodney King in Los Angeles in 1991, but some looked back centuries to put recent events in historical context, such as the American Historical Association, Historic Germantown, Maine Preservation, and Minnesota Historical Society. I recommend that history organizations clearly connect their statements to their mission or vision to ensure this is not merely a token effort; connect your concerns to the history of the region or period you interpret because, well, you’re a history organization; and include individual names whenever possible to move from the abstract to the personal.
A year ago, James Madison’s Montpelier invited me to the National Summit on Teaching Slavery to create a “methodology for how public historians work with descendants” (program, 6 Mb pdf). Over a long weekend, fifty people from across the country with a wide range of experiences and perspectives worked in small groups to define and prioritize standards and best practices for interpretation, research, and involving the descendant community. It builds upon Montpelier’s award-winning exhibition, A Mere Distinction of Colour, to help “Americans of all types truly understand the ongoing struggle for freedom, rights, and equality in our nation.” The National Council on Public History recently posted a nice series of discussions on the exhibition with students in the Cooperstown Graduate Program.
One of the major challenges was determining what is distinctive about teaching slavery from interpreting other topics, such as women or Asians. At first, the discussions identified practices that had already been figured out years ago by the American Historical Association and the National Association for Interpretation, but that was to be expected because many participants had little experience in scholarship or interpretation–what bound us together was improving and enhancing the interpretation of slavery at museums and historic sites. Although the rehash of these professional practices was frustrating and I wondered why we were going over old ground, it eventually dawned on me that Continue reading →
Berlin has an incredible number of memorials, museums, and “documentation centers” that address the history and consequences of the Nazis but one that can be easily overlooked is the “Memorial to Homosexuals Persecuted Under Nazism” (Denkmal für die im Nationalsozialismus verfolgten Homosexuellen) installed in the Tiergarten (Berlin’s Central Park) in 2008. From a distance, it looks like a grey concrete slab. It’s not until you walk around it that you notice a small window in which a short video plays in a loop. Even after watching it, you wouldn’t be sure what you’ve experienced until you found the low interpretive panel placed off to the side. It reads:
In German: Im nationalsozialistischen Deutschland fand eine Homosexuellen-Verfolgung onhe gleichen in der Geschichte statt. . . .Continue reading →
Thanks for several generous donors, Historic New England is providing scholarships for its outstanding Program in New England Studies (PINES). The scholarships are available to mid-career museum professionals and graduate students in the fields of architecture, decorative arts, material culture, preservation or public history. Candidates from diverse cultural backgrounds are encouraged to apply.
The Program in New England Studies is an intensive week-long exploration of New England decorative arts and architecture that runs from Monday, June 19 to Saturday, June 24, 2017. Participants travel throughout New England to hear lectures and presentations by some of the country’s leading experts in regional history, architecture, preservation, and decorative arts. There are workshops, visits to Historic New England properties, other museums, and private homes and collections.
If you’ve always wanted to study the architecture or decorative arts of New England, don’t let money stop you. This year, PINES offers two generous scholarships: Continue reading →
Slave cabin with contemporary sculptures at Whitney Plantation, Louisiana.
If you’re interested in interpreting slavery, you’ll have a tough time choosing what to do this fall. At the same time that AASLH is holding its annual meeting in Detroit, Monticello and the Slave Dwelling Project are hosting outstanding national conferences.
On September 17 from 10 am to 12:30 pm, Monticello will host a public summit on race and the legacy of slavery in Charlottesville, Virginia. Historians, descendants of those enslaved at Monticello, cultural leaders, and activists will engage in a far-ranging dialogue on the history of slavery and its meaning in today’s conversations on race, freedom, and equality. Participants include Marian Wright Edelman (Children’s Defense Fund), Henry Louis Gates, Jr. (Harvard University), Annette Gordon-Reed (Harvard University), Jon Meacham (Random House), and Bree Newsome (filmmaker and community activist). Registration is free but seating is limited. For more information, visit monticello.org/neh.
On September 19-21 the Third Annual Slave Dwelling Project Conference will be held in Columbia, South Carolina. The conference brings together incredibly diverse perspectives, from preservationists and archaeologists to writers and film producers, to understand how these modest homes can change the traditional narrative of American history. Speakers include Mary Battle (Avery Center for African American Research), Lana Burgess (McKissick Museum), Toni Carrier (Lowcountry Africana), Elizabeth Chew (James Madison’s Montpelier), Latoya Devezin (Austin History Center), Regina Faden (Historic St. Mary’s City), Fielding Freed (Historic Columbia), Tammy Gibson (travel historian and blogger), Jennifer Hurst-Wender (Preservation Virginia), Brent Leggs (National Trust), Betsy Newman (South Carolina ETV), David Serxner (Historic Hope Plantation), Rhondda Robinson Thomas (Clemson University), and Robert Weyeneth (University of South Carolina). Full registration (which includes some meals) is $250 with an early registration price of $235 (deadline August 19). More information available at SlaveDwellingProject.org.
Last year when I was preparing Interpreting African American History and Culture at Museums and Historic Sites, it seemed that the obvious had been overlooked: race. Although we all advocated for the integration of African American history in interpretation in part to overcome racism, I wondered if instead we are inadvertently promoting the idea that races exist and we simply need to find ways to get along, just like dogs and cats in our homes. We never questioned or uncovered the assumptions about race that visitors may carry with them into museums and historic sites. Our bigger concern was that African American history was sufficiently significant to merit preservation and integration into the interpretation.
We know that races do not exist and it was a theory developed by scientists in the 18th and 19th century as a way to explain human differences. Race has long been disproven, but certainly race and racism continues, probably in the minds of many of our visitors. So if more of our visitors could understand that race is socially constructed and artificial, it may go a long way towards Continue reading →
James Madison’s Montpelier is in the midst of expanding its interpretation of slavery thanks to a generous gift from David Rubenstein. To explore potential interpretive techniques and content that could be adopted, we conducted a three-day research trip to visit a wide range of sites in Louisiana. Staff had visited most of the sites in Virginia, and so we sought a location that most of us had not visited but had a large concentration of historic sites that interpreted African American history before emancipation. Because the experience helped us question assumptions, think more deeply about outcomes, and expand our catalog of ideas, I’m sharing our itinerary with you to encourage you to visit. Our research trip started with two days to make a big loop through Baton Rouge and New Iberia to visit several historic sites and finished with a day in New Orleans. In future blog posts, I hope to discuss some of the sites in more detail.
Day 1: Whitney Plantation, Laura Plantation, and Oak Alley. Our initial plans also included Evergreen Plantation but the timing didn’t work out, even though these sites are within ten miles of each other.
Engaging Places 