Living next to a World War I memorial arch, David Trowbridge, associate professor of history and the director of African and African American Studies at Marshall University, witnesses a daily performance, multiple times a day.
The current controversy over Confederate monuments is about how we remember the past and interpret its meaning. These issues are the stock in trade of historians, and many have written op-eds and done interviews with reporters for national and local news outlets. Others have given talks to civic groups, testified to government agencies, and spoken at public forums. The American Historical Association has issued a widely endorsed statement on Confederate monuments. Last week, the National History Center brought the issue to Capitol Hill as a congressional briefing.
By Michelle M. Martin
When I began my directorship of the Little House on the Prairie Museum south of Independence, Kansas, the promise and challenges the museum faced swirled in my mind. For any small historic house museum, problems tend to outweigh the possibilities. Founded in 1977, the Little House on the Prairie Museum preserves the Kansas homesite where Charles Ingalls and his family lived from 1869–71. The museum features a replica of the one-room cabin the family lived in while in Kansas along with a 19th-century one-room schoolhouse and post office moved to the site to ensure their preservation.
One of President Obama’s last act while in office was to designate a national monument to Reconstruction in Beaufort, South Carolina. The AHA supported this important expansion of the National Park Service system with a letter to the US Secretary of the Interior on November 16, 2016. AHA Today spoke to historians Greg Downs and Kate Masur, whose advocacy was crucial to this effort, about the significance of the designation, the backstory of the monument’s creation, and next steps.
Indigenous history is everywhere, and yet too often overlooked or ignored. In Los Angeles, a coalition of academics, archaeologists, activists, and members of local indigenous communities, is working to create a digital storymapping project that “aims to uncover and highlight the multiple layers of indigenous Los Angeles.” Mapping Indigenous LA is exemplary in its privileging of indigenous knowledge and protocol, as well as in its attention to documenting the presence of Southern California’s original inhabitants as well as diasporic indigenous communities. AHA Today spoke to professor Mishuana Goeman, co-principal investigator of the project, for more on this effort.
By Rachel Feinmark
After two years of endless academic job applications, Skype interviews, and harrowing job talks, I was exhausted from reinventing myself on a daily basis. For all the effort, I was starting to suspect that I might not even want any of the jobs I was working so hard to get. When I finally gave myself permission to apply for the public history positions I’d secretly been coveting, I felt a sense of relief. But as I revised my teaching statement for a museum studies role, I came to realize that I was less interested in refining my class on the history of display than I was in creating the display myself.
A recent report from Humanities Indicators, a project of the American Academy of Arts & Sciences, showed that less than a quarter of Americans aged 18 years or older visited a historical park or monument in 2012—a 13 percentage point drop from 1982. As a student from Brigham Young University (BYU) in Utah, I traveled to Washington, DC, in January to intern with the American Historical Association for the spring semester. Having taken advantage of opportunities to explore the city’s many historic sites and museums, the report made me wonder about the nation’s declining interest in visiting historical sites.
In the October 2015 issue of Perspectives on History, I wrote on historically informed performance of medieval, Renaissance, and baroque music. Musicians at the Folger and Newberry Consorts spoke to me about how history informed their music, and in turn how music could help transport listeners to a different time.
At the National Council on Public History annual meeting in Baltimore last month, I once again found myself at the intersection of music and history at a workshop called “Banjos in the Museum: Music as Public History.” Organized by the Stevenson University public history program, this workshop featured archivist and musicologist Greg Adams and instrumentalists Ken and Brad Kolodner.