Shared historical authority

Last updated

Shared historical authority is a current trend in museums and historical institutions which aims to open the interpretation of history to the public.

Contents

Definition

The concept of shared historical authority is defined by the premise that traditional institutions of historical authority, such as museums and historical societies, are increasingly inviting non-professionals (the general public) to share their historical viewpoints and experiences with the public. It is argued that this trend toward sharing authority is changing the nature of public historical experience in significant ways.[ citation needed ] Shared authority removes the hierarchy commonly practiced within cultural institutions. Moving away from a top down approach, shared authority is geared towards collaboration that includes dialogue, and participatory engagement.

Typical examples of shared historical authority include:

In each case the institution serves as a catalyst for non-traditional participants to contribute to a body of information presented to the public. The institution uses its resources - e.g. staff expertise, collections, public space - to help non-traditional participants share their contributions in publicly accessible and engaging ways. At its most basic, shared authority turns people who would otherwise be historical consumers (visitors and audiences) into participants and co-generators of historical content for public display. Museums who coordinate programs that share historical authority often wish to imbue a sense of democratization to the historical narrative, in contrast to the top-down historical narratives that sometimes emerge in museums. In addition, shared authority projects frequently try to involve communities who have traditionally been disenfranchised or underrepresented in historical narratives and institutions, providing a platform for alternative voices to engage in a public historical dialogue.[ citation needed ] The role of shared historical authority continues to be debated in the field of public history.

History of the idea

The need for museums and other historical institutions to "share authority" with their audiences and surrounding communities is rooted in the ideologies of New Social History and social constructivism. Both paradigms reject the concept of a "master narrative" for describing historical events, finding it an inadequate method for representing the multiple experiences and perspectives of individuals involved. Arising from the work of folklorists such as John Lomax and Alan Lomax, New Deal-era Works Progress Administration (WPA) programs such as the Federal Writers' Project and the work of Studs Terkel, the social history movement of the 1960s placed new academic emphasis on the experiences of people not represented in traditional or "official" historical narratives, and gave further impetus to projects focused on collecting and sharing those experiences. [1]

Michael Frisch, a professor at the University at Buffalo, The State University of New York, popularized the term "shared authority" in his 1990 book A Shared Authority: Essays on the Craft and Meaning of Oral and Public History. In recent years, Frisch has distinguished between "sharing authority" and "a shared authority." The former suggests that historians possess authority and have a responsibility to share it, reinforcing a traditional, top-down view of history. "A shared authority", by contrast, recognizes that traditional historical authorities and the public share in the interpretive and meaning-making process "by definition." [2]

Beginning in the early 2000s, the proliferation of Web 2.0 technologies that allow users to easily create and share content on digital platforms offered historical institutions a variety of new tools to facilitate public participation.

Case studies

The Lower East Side Tenement Museum in New York's Manhattan district is a good example of how an urban museum can share historical authority 97 Orchard Street Front.jpg
The Lower East Side Tenement Museum in New York's Manhattan district is a good example of how an urban museum can share historical authority

Other examples of shared historical authority include StoryCorps, the City of Memory, and Philaplace, an internet-based neighborhood history project produced by the Historical Society of Philadelphia that combines scholarly essays with stories from anyone who cares to submit one. Staff members then curate the submitted stories. Dennis Severs House is a historic townhouse in London (18 Folgate St.) that was restored by Dennis Severs. The house is filled with historic objects alongside modern touches, sound clips of carriages and crying babies, and plates of real food set out each day by the staff. Visitors are encouraged to roam the house on their own, sit down on the furniture, interact with other visitors, and draw their own conclusions. The experience is meant to blur the lines between art and history.[ citation needed ]

The Lower East Side Tenement Museum is the first museum to focus on the lives of urban, immigrant tenement dwellers. It shares authority by inviting the families of former residents to contribute objects, photographs, documents, interviews, and oral histories to the museum tours. Part of the museum's mission is to address today's immigrant issues. This provides another avenue for sharing authority through public programs that connect speakers with varied backgrounds to public audiences. The museum invites sharing on one of its tours, Sweatshop Workers, with the words:

"Spend extended time inside the Levine and Rogarshevsky apartments and join in a discussion about themes arising from the tour. Share your experiences, thoughts, and family histories with your educator and fellow visitors." [3]

Open House: If These Walls Could Talk is an exhibition that was produced by the Minnesota Historical Society in 2006. The exhibition traced the stories of families in a single house in St. Paul, Minnesota between 1888 and 2006. The curators did not want to show patterns or people as part of aggregate groups. Instead, they chose to emphasize singularity and individuality. To accomplish this, the Minnesota Historical Society built a house for visitors to walk through. Instead of reading large panels of wall texts, visitors had to interact with objects to hear, read, or see the information. Unlike projects in which the content is produced in conjunction with a group of community members, here authority was shared at the level of narrative creation. Curators controlled the objects in the house, recordings of former residents, and the setup of the space. Without an overarching structure, visitors could wander through at random, co-creating their own narratives. There was no clear beginning and end beyond entering and exiting the house. [4]

The Black Bottom Performance Project is a partnership between the University of Pennsylvania and residents of Black Bottom, a historically black neighborhood destroyed by urban renewal policies and the University of Pennsylvania's expansion in the 1960s. Billy Yalowitz, a theater professor working at the university, invited Penn students as well as student and teacher partners from University City High School—a school built in the former Black Bottom neighborhood—and former residents of the neighborhood to work together on the telling of the neighborhood's history, ultimately creating "Black Bottom Sketches" in 1998. [5]

The Wing Luke Museum is an example of a museum in which shared authority is a core component of its programming policies.

The Humanities Truck is an experimental mobile platform for collecting, exhibiting, preserving, and expanding the dialogue around the humanities in and around the Washington, D.C. area. The project, which is sponsored by American University and is initially funded through a generous grant from the Henry Luce Foundation, enables partnerships with local organizations to collect people’s stories on critical issues, such as immigration and homelessness. The truck is fitted with a recording studio, mobile workshop space, and a gallery for pop-up exhibits that features built-in speakers, a flat-screen television, a roll-down screen and projector, and even an outside exhibit wall. [6] Humanities Truck project fellows share historical authority with the communities with which they work.

Criticism

Despite the interest and affirmation that sharing authority is currently receiving in museum and public humanities circles, there are scholars and practitioners who criticise the practice. Generally, these criticisms are aimed at one of two levels. First, some scholars suggest that the phrase itself is wrong. "Sharing authority" implies that the process is something museums/archives do rather than something that just "is." In his essay for Letting Go?, Michael Frisch suggests that a more appropriate formulation of the concept is "a shared authority." [7]

"a shared authority"... suggests something that 'is'-- that in the nature of oral and public history, we are not the sole interpreters. Rather, the interpretive and meaning-making process is in fact shared by definition-- it is inherent in the dialogic nature of an interview, and in how audiences receive and respond to exhibitions and public history interchanges in general. [7]

Scholars and artists also worry that sharing authority devalues the hard-won expertise of professionals. The artist Fred Wilson, whose 1992-1993 exhibit "Mining the Museum" at the Maryland Historical Society is considered a landmark moment in museums' assessments of their role as historical arbiters, [8] has expressed, "I don't think people should share authority to the degree that you devalue your own scholarship, your own knowledge. That's not sharing anything. You're not giving what you have. That is highly problematic. You have to be realistic about your years of experience, what you can give, and what others can give." [9]

Further reading

Related Research Articles

<span class="mw-page-title-main">Museum</span> Institution that holds items of scientific, artistic, cultural or historical importance

A museum is a building or institution that cares for and displays a collection of artifacts and other objects of artistic, cultural, historical, or scientific importance. Many public museums make these items available for public viewing through exhibits that may be permanent or temporary. The largest museums are located in major cities throughout the world, while thousands of local museums exist in smaller cities, towns, and rural areas. Museums have varying aims, ranging from the conservation and documentation of their collection, serving researchers and specialists, to catering to the general public. The goal of serving researchers is not only scientific, but intended to serve the general public.

<span class="mw-page-title-main">Curator</span> Content specialist charged with managing an institutions collections

A curator is a manager or overseer. When working with cultural organizations, a curator is typically a "collections curator" or an "exhibitions curator", and has multifaceted tasks dependent on the particular institution and its mission. In recent years the role of curator has evolved alongside the changing role of museums, and the term "curator" may designate the head of any given division. More recently, new kinds of curators have started to emerge: "community curators", "literary curators", "digital curators" and "biocurators".

<span class="mw-page-title-main">Museology</span> Study of museums

Museology or museum studies is the study of museums. It explores the history of museums and their role in society, as well as the activities they engage in, including curating, preservation, public programming, and education.

<span class="mw-page-title-main">Wing Luke Museum</span> Ethnic history museum in Washington, U.S.

The Wing Luke Museum of the Asian Pacific American Experience is a history museum in Seattle, Washington, United States, which focuses on the culture, art and history of Asian Pacific Americans. It is located in the city's Chinatown-International District. Established in 1967, the museum is a Smithsonian Institution affiliate and the only pan-Asian Pacific American community-based museum in the country. It has relocated twice since its founding, most recently to the East Kong Yick Building in 2008. In February 2013 it was recognized as one of two dozen affiliated areas of the U.S. National Park Service.

<span class="mw-page-title-main">National Civil Rights Museum</span> Motel that was the site of the assassination of Martin Luther King Jr., now a museum

The National Civil Rights Museum is a complex of museums and historic buildings in Memphis, Tennessee; its exhibits trace the history of the civil rights movement in the United States from the 17th century to the present. The museum is built around the former Lorraine Motel, which was the site of the assassination of Martin Luther King Jr. in 1968; King died at St. Joseph's Hospital. Two other buildings and their adjacent property, also connected with the King assassination, have been acquired as part of the museum complex.

Digital storytelling is a short form of digital media production that allows everyday people to create and share their stories online. The method is frequently used in schools, museums, libraries, social work and health settings, and communities. They are thought to have educational, democratizing and even therapeutic effects.

<span class="mw-page-title-main">Lower East Side Tenement Museum</span> National Historic Site of the United States

The Lower East Side Tenement Museum, located at 97 and 103 Orchard Street in the Lower East Side neighborhood of Manhattan, New York City, is a National Historic Site. The museum's two historical tenement buildings were home to an estimated 15,000 people, from over 20 nations, between 1863 and 2011. The museum, which includes a visitors' center, promotes tolerance and historical perspective on the immigrant experience.

<span class="mw-page-title-main">New Jersey Digital Highway</span>

The New Jersey Digital Highway (NJDH) is a collaborative initiative led by cultural heritage institutions—including libraries, museums, archives, state agencies and other organizations—in New Jersey to provide online access to cultural and historical information about the state. The main participating institutions include Rutgers University Libraries, the New Jersey State Library, the New Jersey Department of Archives and Records Management, the Pietro and Maria Botto House, and the New Jersey Historical Society, with other institutions around the state providing additional collections.

<span class="mw-page-title-main">Historic house museum</span> House that has been transformed into a museum

A historic house museum is a house of historic significance that has been transformed into a museum. Historic furnishings may be displayed in a way that reflects their original placement and usage in a home. Historic house museums are held to a variety of standards, including those of the International Council of Museums. Houses are transformed into museums for a number of different reasons. For example, the homes of famous writers are frequently turned into writer's home museums to support literary tourism.

Public humanities is the work of engaging diverse publics in reflecting on heritage, traditions, and history, and the relevance of the humanities to the current conditions of civic and cultural life. Public humanities is often practiced within federal, state, nonprofit and community-based cultural organizations that engage people in conversations, facilitate and present lectures, exhibitions, performances and other programs for the general public on topics such as history, philosophy, popular culture and the arts. Public Humanities also exists within universities, as a collaborative enterprise between communities and faculty, staff, and students.

<span class="mw-page-title-main">International Museum Day</span> Annual day highlighting the role of museums

International Museum Day (IMD) is an international day held annually on or around 18 May, coordinated by the International Council of Museums (ICOM). The event highlights a specific theme which changes every year reflecting a relevant theme or issue facing museums internationally. IMD provides the opportunity for museum professionals to meet the public and alert them as to the challenges that museums face, and raise public awareness on the role museums play in the development of society. It also promotes dialogue between museum professionals.

<span class="mw-page-title-main">Special library</span> Library providing resources on a particular topic or discipline

A special library is a library that provides specialized information resources on a particular subject, serves a specialized and limited clientele, and delivers specialized services to that clientele. Special libraries include corporate libraries, government libraries, law libraries, medical libraries, museum libraries, news libraries. Special libraries also exist within academic institutions. These libraries are included as special libraries because they are often funded separately from the rest of the university and they serve a targeted group of users.

Content creation is the contribution of information to any media and most especially to digital media for an end-user/audience in specific contexts. Content is "something that is to be expressed through some medium, as speech, writing or any of various arts" for self-expression, distribution, marketing and/or publication. Typical forms of content creation include maintaining and updating web sites, blogging, article writing, photography, videography, online commentary, the maintenance of social media accounts, and editing and distribution of digital media. A Pew survey described content creation as the creation of "the material, people contribute to the online world."

<span class="mw-page-title-main">Gender differences in social network service use</span> Differences between genders with regard to use of social media and social network service

Men and women use social network services (SNSs) differently and with different frequencies. In general, several researchers have found that women tend to use SNSs more than men and for different and more social purposes.

The South Asian American Digital Archive (SAADA) is a 501(c)(3) not-for-profit organization that archives materials associated with the history of South Asian Americans.

"If This House Could Talk", is a community based history and public art project, first created and produced by residents of the Cambridgeport section of Cambridge, Massachusetts. Projects of a similar nature and with the same name take place annually in neighborhoods of Sacramento, California, Newburyport, Massachusetts, and other communities in the United States.

<span class="mw-page-title-main">House of European History</span> Museum of European history in Brussels, Belgium

The House of European History (HEH) is a history museum and cultural institution in Brussels, Belgium, focusing on the history of Europe. It is an initiative by the European Parliament, and was proposed in 2007 by the Parliament's then-president, Hans-Gert Pöttering; it opened on 6 May 2017.

The Pew Center for Arts & Heritage is a nonprofit grantmaking organization and knowledge-sharing hub for arts and culture in Philadelphia, Pennsylvania, US established in 2005. In 2008, Paula Marincola was named the first executive director. The Center receives funding from The Pew Charitable Trusts and makes project grants in two areas, Performance and Exhibitions & Public Interpretation, as well as awarding grants to individual artists through Pew Fellowships. In 2021, the Center announced the introduction of Re:imagining Recovery grants to assist in COVID-19 recovery.

<span class="mw-page-title-main">Smithsonian Affiliations</span>

Smithsonian Affiliations is a division of the Smithsonian Institution that establishes long-term partnerships with non-Smithsonian museums and educational and cultural organizations, in order to share collections, exhibitions and educational strategies and conduct joint research.

A community museum is a museum serving as an exhibition and gathering space for specific identity groups or geographic areas.

References

  1. Bill Adair, Benjamin Filene, and Laura Koloski, eds. (2011). Letting Go? Sharing Historical Authority in a User-Generated World. Philadelphia: The Pew Center for Arts and Heritage. ISBN   978-0-9834803-0-3.{{cite book}}: |first= has generic name (help)CS1 maint: multiple names: authors list (link)
  2. Frisch, Michael (2011). "From A Shared Authority to the Digital Kitchen, and Back" in Bill Adair, Benjamin Filene, and Laura Koloski, eds., Letting Go? Sharing Historical Authority in a User-Generated World. Philadelphia: The Pew Center for Arts and Heritage. pp. 126–37. ISBN   978-0-9834803-0-3.
  3. "Sweatshop Workers: Tour & Discussion". Tour the Building. Lower East Side Tenement Museum. 2011. Retrieved December 21, 2011.
  4. Filene, B. (2011). Make Yourself At Home-- Welcoming Voices in Open House: If These Walls Could Talk.Letting Go? Sharing Historical Authority in a User-Generated World. in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 138-155. Philadelphia, PA: Pew Center for Arts and Heritage. ISBN   978-0-9834803-0-3
  5. Yalowitz, B. (2011). "The Black Bottom: Making Community-Based Performance in West Philadelphia." in Bill Adair, Benjamin Filene, and Laura Koloski (eds.), Letting Go? Sharing Historical Authority in a User-Generated World, pp. 156-173. Philadelphia, PA: Pew Center for Arts and Heritage. ISBN   978-0-9834803-0-3
  6. Housman, Patty (August 28, 2018). "AU's New Humanities Truck Hits the Road: Gathering Stories in DC communities". American University's College of Arts and Sciences News. Retrieved February 16, 2019.
  7. 1 2 Frisch in Letting Go?, p. 127.
  8. Letting Go?. p. 207.
  9. Fred Wilson, Paula Marincola, and Marjorie Schwarzer, Mining the Museum Revisited: A Conversation. in Letting Go?. p. 237.{{cite book}}: CS1 maint: multiple names: authors list (link)