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Author Interview: Renata Schellenberg on “Composing the Blue Book”

In OHR’s spring Issue, scholar Renata Schellenberg analyzes the Blue Book, a document dependent on oral testimonies that reported the abuses that native South West Africans suffered under German colonial hands. Her study provides a new perspective on the Blue Book by critically analyzing the political intentions of the document and the historical circumstances of the time. “Composing the Blue Book: The Use of Oral Sources to Narrate German South-West Africa” moves South-West African history forward, by adding a new interpretative lens to this valuable primary source. Schellenberg answered our questions about the Blue Book and its significance in her author interview. 

Please describe the Blue Book, Report on the Natives of South-West Africa and their Treatment by Germany and its significance to Southwest African history.

The Blue Book is an important document for German South West Africa (GSWA) as it provides a seemingly comprehensive and objective overview of the colony until 1918. This formal government synopsis included economic, geographic, and demographic data, but it also featured a record of the many abuses suffered by the indigenous people in GSWA by German colonial powers. In my view, the inclusion of this contentious information greatly expanded the purview of the Blue Book, by creating a veritable document of violations committed by the German Imperial government – a document that could later be used by historians and scholars to ascertain what happened in GSWA prior to 1918. It is an archival resource. 

How does the Blue Book use oral testimony, and what are your critiques of using such sources in this governmental publication?

The Blue Book draws heavily on oral sources to convey the injustices that happened among indigenous groups and the German colonial government. An interesting fact is that the editors collected eyewitness testimony from both white and Black inhabitants of the colony to make the case that this colonial violence occurred. I interpret this approach as quite progressive, as it signaled a certain equality among members of the Black and white population in GSWA when gathering this information – an equality which was certainly not the day-to-day reality. The use of oral sources as a key authoritative source of information for a government publication can also be somewhat problematic, as these sources are clearly not objective in the articulation of their experiences (nor should they be), but also because the information provided by these sources often cannot be verified through other existing archival means. The inclusion and omission of opinions of the government-employed editor of the Blue Book indubitably play a big role here and shaped the final version of the text.

How do you recommend analyzing perspectives from oral testimony while successfully detecting potential political aims and other objectives?

In order to detect, minimize, and mitigate possibly biased recordings of oral testimony (political or otherwise) it is important to learn as much as possible about the context in which such testimony was gathered. The perspective of the initial interviewer is very important as it can determine the intended use of oral testimony (in print and elsewhere). An informed understanding about the underlying cultural, social and historical circumstance of the interview are therefore important. This knowledge helps identify possible manipulations of oral testimony and helps garner an objective reading of the oral testimony provided. I think this is how the reader does justice to the actual interviewee in the process of gathering oral testimony.

Describe what happened when the Blue Book was republished in 2004.

The Blue Book was reprinted in 2004 on the 100th anniversary of the beginning of the Nama Herero War. The reprint was an significant endeavour as it allowed this information to be broadly disseminated to a new (and post-colonial) audience. The Blue Book was not easily accessible in Namibia during the Apartheid years, as the South African government did not want to agitate white German Namibians with the report’s implicit criticism of their colonial rule in GSWA and therefore, starting in 1926, removed copies of the report from public access. The reprint of the Blue Book in 2004 was thus a welcome occurrence, as it helped propagate data about the poor treatment of indigenous Africans to a broad readership, ensuring that this information was accessible to all members of society. Some historians who work on German colonialism and German colonial history criticized the appearance of the reprint, stating that the editors should have provided a more thorough analysis alongside the reprint to ensure that the reprint was properly read and understood. They also wanted more research to accompany the original text – to help elucidate the text.

You mentioned that O’Reilly, the author of the Blue Book, used various methodologies to construct a narrative of the German Colonial control over the South West African Indigenous populations. Describe your analysis of these methodologies and what you learned from them.

The British government commissioned O’Reilly to gather oral testimony and one needs to remember this point when reading the Blue Book, as he was obviously approaching the task from a very defined (and opposed) political vantage point and was thus biased in his reporting. Some scholars have commented on the blatant propagandistic nature of the report, and they may not be wrong in that assessment. The Blue Book is not ethnography and was written to denote flaws in German colonial governance, indirectly justifying the change in colonial rule. And while there are clearly archival and scholarly benefits from compiling this indigenous oral testimony – it created a durable historical document that others could use to learn about GSWA– there are also problems with this project. O’Reilly never clarified the criteria of selection used when compiling the testimony, i.e. how he decided which testimony to use and which to omit from the report. He also did not clarify whether he used a translator to conduct the interviews, or whether he conducted the interviews in local languages himself (highly unlikely). The final text is in English. Another matter that was not broached in the report is the lapse of time that occurred between narrating the event (1918) and the event itself. The Nama Herero War ended in 1908 so in many of the reported cases there was a 10-year gap between the event and the telling of the event. This passage of time may have impacted memory of the event and this delay should have been perhaps flagged for readers.

What can contemporary oral historians learn from O’Reilly’s use of oral sources?

I think that contemporary oral historians can learn a lot from some of the obvious omissions made by O’Reilly in his efficient, but flawed reporting. It is thus extremely important to demarcate the parameters and conditions of the interview, so that readers can envision and understand how the information was gathered. Respecting the agency of the interviewee is crucial in these situations and it somewhat obvious that O’Reilly did not fully enforce this principle. He presumably did not ask for explicit permission to speak to people, for example. That said, O’Reilly was not an oral historian and never purported to be any type of scholar. He was performing a perfunctory bureaucratic duty. As scholars, we are required to do better than that.

What was your inspiration to write about this topic?

As a scholar, I am interested in war writing and the documentation of conflict. I think such writing and information gathering is always inadequate because it is impossible to render the impact the experience of violence can have on the individual. Oral testimony (even when properly gathered and presented) attests to this premise of inadequacies and incompletion, because there are always significant gaps between narrating the experience and the experience itself. Trauma runs deep and cannot be fully conveyed in words. As a German scholar, I was intrigued to read a report of German colonial violence in English and to compare that report to other (German) sources and see the difference in reporting. I am also closely following the current reparation discussions taking place between Namibia and Germany, and an informed understanding of the violent events in the Nama Herero War (as narrated in the Blue Blue) helps clarify why this is such a complex process.


Dr. Renata Schellenberg is professor of German at Mount Allison University, Canada. Her primary specialization is German literature and culture of the long eighteenth century, and she has written extensively on topics pertaining to print and material culture of this period. More recently, she has worked in memory studies and cultures of remembrance in twentieth-century Europe, publishing a monograph, Commemorating Conflict: Models of Remembrance in Postwar Croatia, in 2016. In the same field of study, Professor Schellenberg is currently researching postcolonial commemorative practices in Namibia, a project that has been funded by the Social Sciences and Humanities Research Council of Canada. She also received a fellowship at the Ethnographic Museum in Berlin to study colonial objects taken from Namibia.

 

Manitoba Food History Project

Food trucks can serve up more than delicious street food! They can serve a dual purpose as an innovative way of interacting and recording oral history. University of Winnipeg Professors Janis Thiessen, Kent Davis, and Kimberley Moore created a classroom experience that allowed students to dive into their first oral history interviews while extending their creative sides in the mobile kitchen. In this guest post, they describe the project on which they based their recent OHR article, “Rhymes with Truck: The Manitoba Food History Project.”

Logo designed by Kimberley Moore.

By Janis Thiessen, Kent Davies and Kimberley Moore

Who doesn’t love a food truck? That’s what we thought when we began the Manitoba Food History Project. Fortunately, the Social Sciences and Humanities Research Council of Canada agreed with us! And so, for the last few years, the Manitoba Food History Project team were able to use a food truck as an oral history research vehicle. The Manitoba Food History Truck was both a mobile kitchen and a recording studio, and our experiences with it were both an education and an adventure.

 

University of Winnipeg students conduct interviews as part of the Manitoba Food History Truck Field Course. Top Left: Lesley Beardy, Laura Bergen, and Jasmine Parisian interviewing Steffen Zinn on board his Red Ember pizza truck. Top Right: Emily Gartner and Trent Brownlee interviewing Anthony Faraci in front of his food truck. Bottom Left: Alexandra Skwarchuk cooks with her grandmother while interviewing her on board the Manitoba Food History Truck. Bottom Right: Caroline Evans being interviewed by Joana Salazar and Esther Ezekwem on board the Manitoba Food History Truck. Photos by Kimberley Moore. 

Promotional banner for the Manitoba Food History Truck field course at the University of Winnipeg.



In our recently published Oral History Review article “Rhymes with Truck,” we describe the creativity required in overcoming the challenges of a food-truck interview studio, the creativity of the students who conducted their first oral history interviews on the truck, and the public history outcomes they worked to produce.

 

You can browse through our project’s many outcomes on the Manitoba Food History Project Website, including the Preserves Podcast, where you can listen to the story of the Pizza Pop’s inventor Paul Faraci, and his great-nephew Anthony Faraci’s effort to resurrect “Paul’s Original Pizza Snack,” peruse Story Maps such as “A Perogy Story,” which tells the story of the Perogy in Manitoba (not to mention that of the infamous Bill Konyk and his “Hunky Bill’s Perogy Maker”!) and Image Galleries where you can view some of our interviewees and our travels with and without the Food History Truck.

Promotional video for the Story Map: “A Perogy Story.” Story Map produced by Madison Herget-Schmidt.

 

To learn more about our project, and other applications of research vehicles in oral history field work, attend the roundtable “Driving Oral History Home: Mobilizing Community Knowledge,” at which the Manitoba Food History Project Team (Janis Thiessen, Kimberley Moore and Kent Davies) will be joined by the Humanities Truck’s Dan Kerr, Angie Whitehurst, and Corrine Davenport, and the African American Humanities Truck’s Patrick Nugent, Airlee Ringgold Johnson, and Carolyn Brooks, at the upcoming OHA Annual Meeting (Baltimore, Maryland October 18–21, 2023).  


Featured image: The Manitoba Food History Project team aboard the Manitoba Food History Truck. R to L: Janis Thiessen, Kent Davies and Kimberley Moore. Photo by Kimberley Moore.

Janis Thiessen is professor of history at the University of Winnipeg. She is the author of four books in oral history, including NOT Talking Union: An Oral History of North American Mennonites and Labour (McGill-Queen’s University Press, 2016) and Snacks: A Canadian Food History (University of Manitoba Press, 2017). She is the coauthor, with Kimberley Moore, of a book about the Manitoba Food History Project (forthcoming from University of Manitoba Press).
 

Kimberley Moore is an adjunct professor and the Programming and Collections Specialist at the University of Winnipeg Oral History Centre. She teaches workshops in oral history, develops educational resources, assists in ongoing oral history projects, and co-manages the Oral History Centre’s archival collections. Kim’s areas of expertise are the preservation and accessibility of oral history collections. She is a collaborator in the Manitoba Food History Project and is the editor of the project’s story maps, “Stories of Food in Place,” and coauthor of a forthcoming book about the project from University of Manitoba Press. She has a bachelor of arts degree from the University of Winnipeg and a master of arts from Concordia University.

Kent Davies is an adjunct professor and technician at the University of Winnipeg Oral History Centre (OHC). He provides OHC members with the equipment, technical support, learning tools and resources needed to complete oral history research projects. He assists in the development and preservation of the OHC digital archive. He has an extensive background in radio broadcasting and has served as a long-time board member of CKUW 95.9 FM. He is the producer of the podcasts, “Preserves: A Manitoba Food History Podcast,” and “UWRQ: UWinnipeg Research Question.” Davies is the primary researcher of the Harvest Moon Society Oral History Project and collaborator with the Manitoba Food History Project.

 

 

 

Chatting with ChatGPT: AI’s Perceptions of Oral History 

During the last year, artificial intelligence has made increased in-roads into many facets of society. Yet what does it pose for the field of oral history? Duquesne University professor Jennifer Taylor worked with her Intro to Oral History students to investigate some of the implications for ChatGPT and oral history.  The provoking post opens possibilities for new research as well as alerts oral historians to the challenges we may face when we welcome AI to the interview process.

By Mallory Petrucci, Jennifer Taylor, ChatGPT?, Tommy DeMauro, Destiny Greene, Evan Houser, Nina Merkle, John Nicotra, Haley Oroho, Elizabeth Sharp, Ellie Troiani, and Lane Yost. 

In this blog post, Dr. Jennifer Taylor, her Introduction to Oral History undergraduate students at Duquesne University, and ChatGPT explore the complexities involved in utilizing artificial intelligence technology in the field of oral history. We discuss our experiences, including the challenges and limitations we faced while using ChatGPT to transcribe oral histories, define key terms, generate oral histories, verify their reliability, and ultimately write this blog. 

A Twitter post by Dr. Mustaq Bilal on transcribing a lecture using Microsoft Word and ChatGPT prompted the class exercise. First, we created a shared Google Doc for note-taking to share ideas and feedback. We began by attempting to transcribe a fifty-five-second clip from oral histories Dr. Taylor conducted with docents at the Museum of the Reconstruction Era at the Woodrow Wilson Family Home in Columbia, SC. In our first trial, we used the dictation button in Word; however, it would only work if the Word tab was the main tab opened, preventing playback of the oral history on the same device. We adjusted the process by downloading the sound link into the Word document, which did not resolve the issue. Ultimately, we concluded that we would have to play the recording on another device. Word struggled to transcribe with the muddled, soft playback through two speakers and edited out important details in real-time.

ChatGPT’s response to the prompt “Define Crisis Oral History” given on March 16, 2023.

The class chose to shift focus and ask ChatGPT questions about oral history, including “What is oral history?” and “What is Crisis Oral History?” The responses were informative and well done, though one response did leave out anonymity as a critical component of crisis oral history. Nonetheless, the results were not compelling. After some discussion, we decided to ask ChatGPT to write an oral history for us, which proved to be a fascinating test and led us to our experiments we describe in this post. 

ChatGPT’s generic response to our first Hurricane Sandy prompt, “Create an oral history about Hurricane Sandy,” on March 16, 2023. Note the common first names and simple stories.

We prompted ChatGPT to create an oral history about Hurricane Sandy. Earlier in the semester we read Abigail Perkiss’s OHR article on her Hurricane Sandy oral history project, Staring Out to Sea and the Transformative Power of Oral History for Undergraduate Interviewers,” so we felt comfortable working with this subject. The resulting narrative was not descriptive nor historically accurate, which raises questions about ChatGPT. It was unclear if ChatGPT pulled from existing real sources to generate this oral history.

As an experiment to check sources, the class attempted to create an oral history for a specific person, Aki Kurose. The class used Kurose’s oral history from Densho for a found poem exercise earlier in the semester. The initial response from ChatGPT was a biography rather than an oral history and contained factual errors.

The initial response from ChatGPT when asked to generate an oral history with Aki Kurose,  March 16, 2023.

A second and more detailed response from ChatGPT when asked about Kurose. 

However, when the class provided ChatGPT with specific information about Kurose’s internment camp location, the AI program was able to provide a more accurate oral history. We continued to run Hurricane Sandy prompts to assess accuracy, AI form, and repetition. Following numerous prompts, ChatGPT provided quotes from five interviewees, which is unusual for oral histories as they are typically conducted with only one person at a time. As a result, the class changed the prompt to “find oral history quotes from Hurricane Sandy” and set out to develop a strategy to check authenticity of oral history quotes provided by ChatGPT. 

Another example of a Hurricane Sandy prompt to and response from ChatGPT.

The class implemented a series of strategies to assess the reliability of ChatGPT’s responses. The first involved the students searching the internet using the verbatim words provided by the ChatGPT-generated narratives. For instance, Ellie found that one of the quotes provided by ChatGPT was from an Earth Wind and Fire song, indicating that the quote was not related to Hurricane Sandy. One student noted that ChatGPT’s language did not mirror the meteorologist reports of Hurricane Sandy unfolding. 

On March 30, 2023, students prompted ChatGPT to provide sources for its Hurricane Sandy response. When asked to provide specific citations from one of these sources, PhillyMag.com, Chat-GPT gave fake website links to the students. Although the quotes and names are specific, none of the citations led to real sources.

When asked to provide sources, Chat-GPT provided fake references and website links to the students. The class discovered that ChatGPT made up some of the people’s names and provided generic news organizations without specific citations. Therefore, the students asked ChatGPT to provide specific sourcing. With this prompt, it provided links that did not work and likely invented the article titles on PhillyMag.com. 

Additionally, students also used plagiarism checkers to verify quoted content. Grammarly’s plagiarism algorithm did not recognize any instances of plagiarism. However, students found that certain quotes were pulled from non-Sandy hurricane interviews. These processes led the students to suspect that ChatGPT created generic narratives by piecing together various sources based on a wide-range of information related to hurricanes available on the web. 

Dr. Taylor was curious about ChatGPT’s ability to recreate a narrative of an enslaved person, given the prevalence of WPA Slave Narratives on the internet, which are problematic due to the use of dialectic and mostly white interviewers. However, ChatGPT did not produce one for ethical reasons.

ChatGPT rejected creating a slave narrative on March 8, 2023.

 

Students in Dr. Taylor’s graduate course, Digital Humanities for the Historian, took an interest in our project and tried their own related prompts. One received an oral history from an enslaved person in response, but the resulting narrative was vague and lacked detail. For another student, ChatGPT created an oral history from an enslaved person from the seventeenth century. The oral history class tried this same time period centered prompt. Although the resulting story was more detailed, it also contained factual inaccuracies. This again highlights the importance of verifying the information provided by ChatGPT. As ChatGPT continued to be trained and updated, subsequent prompts yielded the histories of two well-known seventeenth century men who had been enslaved. 

ChatGPT created two different histories “of an enslaved person from the 17th century” for two different oral history prompts. ChatGPT based its responses on two historical figures, Olaudah Equiano and Toussaint Louverture.

A second narrative created when we asked ChatGPT to create an oral history of an enslaved person.

After completing several trials with Hurricane Sandy and enslaved narrative prompts, students set out to write this blog post. We decided to see how well ChatGPT could draft a blog from Mallory’s detailed, bullet-pointed notes in our Google document. ChatGPT produced a short post when we supplied it with the entire notes document, but it failed to capture the nuance of our experiments. As a result, we fed ChatGPT individual sections of the outline with a clear topic and prompt to write a detailed paragraph. We asked for multiple paragraphs for longer outline sections. ChatGPT produced 1934 words in total, including an introduction and conclusion. Dr. Taylor heavily edited this content, reducing the word count by nearly half and cutting superfluous content (and Oral History Review editors made additional suggestions before publishing here). Finally, the class reviewed these edits, added screenshots of our prompts and ChatGPT responses and hyperlinked relevant information within the blog. 

As oral historians, we thoroughly enjoyed exploring the potential of ChatGPT and AI in the oral history field; however, AI’s limitations outweigh its usefulness at this time. Our experimentation with prompts, fact-checking results, and requesting citations revealed that ChatGPT does not have a firm understanding of oral history or its definition. Verification of content is essential for any practitioner considering incorporating AI into their research or classroom. As ChatGPT explained, “While AI technology is a promising tool, it should be used in conjunction with critical thinking and human insight to ensure the accuracy and reliability of research.” Good advice!


Mallory Petrucci recently graduated with a double major in history and classics and earned a public history certificate. She will pursue a Master of Arts in Art Policy and Administration at Ohio State University. Jennifer Taylor is assistant professor of public history and taught the course. ChatGPT defines itself as a powerful language model designed to assist and engage in conversation with users, providing information, generating text, and facilitating various tasks. Tommy DeMauro, after pursuing a double major in English and history, will return to Duquesne in the fall for the Public History MA program. Destiny Greene and Elizabeth Sharp are both juniors majoring in history and pursuing a public history certificate. Sharp is also a minor in Women and Gender studies. Evan Houser, from Gordon, Pennsylvania, is a freshman history and law major. Nina Merkle is a junior pursuing a dual degree in secondary education and history. Haley Oroho is a junior majoring in history and political science. Ellie Troiani is a budding public historian who double majors in history and theater arts. 

Introduction to Oral History is an undergraduate history course offered at Duquesne University to fulfill requirements for both the history major and public history certificate. This course begins with the theoretical question “What is oral history?” and explores memory, legal and ethical issues, and how best to document and preserve people’s stories. In collaboration with the Oral History Initiative at Duquesne’s Gumberg Library, students learn oral history methodology and best practices in conducting oral histories, engaging in research, depositing and transcribing recordings, and dissemination.  

 

Search for New OHR Editorial Team

From the Editors

Maybe you already heard the news…. the current editorial team of Abby, Dave, and Janneken is coming up on the end of their second term at the helm of Oral History Review. Although it has been a rewarding experience—one in which we have had the privilege of working with so many outstanding authors who individually and collectively have advanced the study of the methods and theory of oral history practice and interpretation—at the end of 2023 it will be time to pass the reigns to a new editorial team. Maybe that is you?

Our parent organization, the Oral History Association, is actively accepting letters of interest from individuals and teams interested in exploring this opportunity through December 15. Please read about the full opportunity and feel free to contact us with any questions about the journal. 

In the short term, OHR also seeks an experienced copy and production editor to help us through the final stages of  publishing each issue. Experience working with oral history scholarship preferred, along with the knowledge of production mark-up. The copy editor receives a stipend from the Oral History Association. Let us know if you’d like to learn more. We are grateful for all the contributions our current copy editor, Elinor Mazé, has made to the success and quality of the journal. 

 

OHR Happy Hour in Los Angeles #OHA2022

Want to learn more about publishing in the flagship Oral History journal or on our blog? Eager to review oral history related books and media projects? Interested in learning about our editorial process or applying to be part of the next editorial team? Confused or curious about the world of academic publishing? Excited to meet the editorial team IN PERSON after these years of virtual hangs?

Join Oral History Review co-editors Janneken, Dave, and Abby for snacks and drinks at Pez Cantina, 401 S Grand Ave, Thursday October 20, 4:45-6, where we will be outdoors on the patio to chat and brainstorm with you.  

Feel free to drop in, but please RSVP so we know if you plan to stop by. We will buy you one drink and have snacks to share. Looking forward to seeing you in LA!


Featured image: Pez Cantina, 401 S. Grand Avenue

Announcing 2022 Virtual Issue

The Oral History Review‘s rich archive of nearly 50 years is full of scholarship to revisit and reconsider. Annually we dig into the archive to assemble a virtual issue on a theme, a valuable practice of learning from the scholars and practitioners who have come before us. This year’s virtual issue doubles as an opportunity to explore the theme of next week’s Oral History Association annual meeting, our first conference in person in three years.

By Janneken Smucker

During the summer of 2022, the editorial team had the pleasure of working with Dominic Amoroso, a senior history major at West Chester University. In addition to bringing his experience navigating Twitter, Dom knew his way around WordPress, the platform we use for this blog, from his own projects and initiatives. Needless to say, Dom was a self-starter and great asset to the team. In addition to Tweeting, corresponding with guest bloggers and OHR authors, conducting an interview for OHR Conversations, and generally assisting with our digital presence, Dom mined the OHR archive in search of articles that resonated with the OHA Annual Meeting theme, “Walking Through the Fire: Human Perseverance in Times of Turmoil.” Dom worked closely with me, identifying potential articles focused on African American history to first share via a group Zotero library, reading and annotating them while connecting them to the conference theme. 

He then drafted an editor’s introduction, and like all contributors to OHR, went through our rigorous developmental editing process of sending edits back and forth, working to create a polished, thoughtful piece. Read Dom’s intro here and see the full table of contents, with links directly to the archive, where our publisher Taylor and Francis has lifted the paywall for these pieces. We are honored to work with student interns like Dom and hope they have opportunities to apply the experience to future endeavors. 

On behalf of the editorial team, we look forward to seeing OHA members in Los Angeles, October 19-22, for more discussions of how oral history can inform how we understand human perseverance. 


Featured image by Marion S Trikosko, [Signs carried by many marchers, during the March on Washington, 1963], Library of Congress via Flickr Commons. 

New Online Training Program: Oral History for Social Change Certificate 

OHR is pleased to share a guest post from our friends at the Institute for Diversity and Civic Life. Eleonora Anneda and Elizabeth M. Melton introduce you to a new online training program: Oral History for Social Change Certificate.

By Eleonora Anneda and Dr. Elizabeth M. Melton

The Institute for Diversity and Civic Life (IDCL) is a growing nonprofit that began in 2015. Our Religions Texas oral history archive features several collections that explore Texas identity and culture, breaking down the stereotypes of what a Texan looks like, believes, and values. In doing so, we advance a vision of a multireligious, multicultural Texas that works for all its people. We seek to amplify underrepresented voices, empower Texans to tell their stories on their own terms, and diversify the historical record.  Over the years, we’ve trained community partners, new staff members, and college students to conduct oral histories and we’ve learned a lot about the process of creating an archive from the ground up. When introduced to a new e-learning platform on ReligionAndPublicLife.org we knew that this would be a great opportunity to take our trainings to the next level. With this in mind, we created the Oral History for Social Change Certificate to provide folks with a guide and toolkit to walk them through the process of designing and implementing an oral history project.

Our curriculum design team came to this project with a range of oral history experiences: Eleonora Anedda holds an M.A. in Oral History from Columbia University, Dr. Elizabeth Melton came to oral history through critical performance ethnography and oral history performance, and Dr. Tiffany Puett established IDCL’s Religions Texas Oral History project and archive. The Oral History for Social Change certificate represents the best of our knowledge, experiences, and training in oral history. We at IDCL believe that oral history is a powerful tool for social change. The stories we share can help us describe the world as it is, but they can also be spaces where we identify social problems and imagine social alternatives. Of course, it is one thing to declare the potential of an oral history project to change the world and an entirely other thing to make it happen. Seeing an oral history project from inception to completion can be an intimidating process.

Our certificate program is an asynchronous 15-hour experience for online learners and consists of five on-demand courses that will help learners navigate the practice of community-based oral history:

HUM 301: Introduction to Oral History
HUM 302: Oral History and Social Justice
HUM 303: Oral History Project Planning
HUM 304: Conducting Oral History Interviews
HUM 305: Archiving and Curating Oral Histories

We have designed each course to stand on its own, but the courses are most comprehensive when completed together as the full certificate. Course one focuses on the origins of oral history as a formal methodology and the second course delves into oral history’s relationship to social justice, anti-oppression frameworks, and ethical issues. Courses three through five provide more technical instruction on the tools and skills needed to successfully plan, collect, and archive oral history narratives. 

We use a combination of video, audio, interactive exercises, and workbooks to guide learners through the curriculum. The program provides learners with the opportunity to explore the method of oral history and the ways it can be used for social causes and community organizing, and to understand ethical approaches for planning and implementing oral history projects. From a more practical standpoint, through the certificate, attendees discover practical guides, tips, and resources for designing and completing each step in an oral history project, and will have a chance to review notable oral history projects. 

One of our primary commitments in designing this training was to make sure we created something that would help oral historians conduct projects ethically, responsibly, and with a full understanding of the field of oral history and its community of scholars. With this in mind, the certificate includes a series of short interviews that we conducted with established practitioners as well as a three-episode podcast series on renowned scholars. We present academic oral history as it overlaps, intersects, and diverges with indigenous oral history. We felt that by including the history of the field—with late 20th century, and early 21st, views and theories from key figures including Luisa Passerini, Alessandro Portelli, and Linda Shopes, coupled with the current understanding that reclaims and rethinks oral history (Farina King, Nēpia Mahuika)—we would offer attendees a more rounded perspective on this method. Practitioners of all levels can appreciate how indigenous oral history practices are rooted in oral history methods and theory, and can also acknowledge the colonial history of oral history. 

As most oral historians’ careers are grounded in the work of relationship-building and community, throughout the certificate, we invite learners to think about the legal, ethical, and moral obligations between themselves and the narrators. We introduce concepts like shared authority and co-authorship to encourage practitioners to brainstorm the types of collaboration they envision with narrators and their communities.

We designed the certificate with our oral history community in mind, so whether you’re new to oral history or a more experienced practitioner, we hope you will find the conversations, tools, and resources in the curriculum useful. One of the benefits of the asynchronous format is that learners can complete the lessons on their own timetable. We also worked to make the certificate as rich and comprehensive as possible, while keeping the cost of enrollment low.

The certificate is currently live and anyone can enroll in the certificate by visiting the IDCL bookstore on ReligionAndPublicLife.org.  You can complete the course entirely on your own time and schedule, but if you’re interested in more engagement we have a few options in the works. Our goal is to add a capstone component to the course so college students can receive university credit for completing the course, but that will come later in 2023. For now, we are organizing a Winter 2023 cohort where members will still complete the course asynchronously, but in community with one another. Cohort members will meet virtually with course designers, Ele and Elizabeth, at the beginning and end of the cohort period and complete the certificate courses at the own pace over a period of six weeks. Everyone will remain in contact using the course’s discussion board as cohort members independently make their way through the course material. Each person who enrolls in the cohort is invited to meet individually with the course designers to troubleshoot problems, discuss challenges they encounter, and receive individualized feedback about the oral history project they hope to design. Finally, each participant will have the opportunity to showcase their oral history project design and receive feedback and support from the entire cohort at the end of the course period. Our aim is to provide a space of support and community for online learners as they imagine and design exciting, new oral history projects committed to social change.

If your university would like to offer course credit for this certificate, please be in touch with us. You can reach us via email: elizabeth@diversityandciviclife.org and eleonora@diversityandciviclife.org. For more information about this training certificate please visit our website: https://diversityandciviclife.org/resources/oral-history-training-and-certificate/.


Dr. Elizabeth M. Melton is IDCL’s Public Engagement Director. She completed her Ph.D. in Communication at the University of North Carolina at Chapel Hill. During her time at UNC, she created, Unpacking Longview, an anti-racist play based on oral histories she collected about public school desegregation in her East Texas hometown. You can read about her work in the Oral History Review and our blog.

Eleonora Anedda is an oral historian from Sardegna, Italy. She holds an M.A. in Oral History from Columbia University and came to the field from a Gender Studies background. She cares about documenting and preserving untold stories of individuals, families, and communities. Eleonora has worked closely with historians, ethnographers, and community organizers on various research projects—at the Institute for Diversity and Civic Life she serves as an Oral Historian and Curriculum Specialist.

A Multi-sensory Approach to Oral History

Our new issue features Wesley Hogan, Geri Augusto, & Danita Mason-Hogans’s  “Adapting Critical Oral History Methodology to Freedom Movement Studies,” discussing the use of critical oral history methodology in examining freedom movements. Here the authors offer a way for oral historians to draw on their senses before entering a critical oral history session.

By Wesley Hogan, Geri Augusto, & Danita Mason-Hogans,

As oral historians, we often hear from narrators about their senses: smells they remember, or how it felt when someone touched them, a meal they’ll never forget, how they felt the first time they saw a particular person or event. We hear what went through their mind the first time they listened to an impactful person’s voice. Oral history, in this way, is a record of a multi-sensory experience. So when we set out to adopt the Critical Oral History (COH) methodology in 2016 with civil rights veterans, tone and ambience were central to the success of our three-day oral history sessions. We tried to transform a university setting into space soaked in the Black-led freedom movement’s cultural norms. Kristina Williams, a Duke history graduate student, created a 50+ song Spotify playlist. Oral history for our team started with Motown and Sam Cooke, the music that greeted everyone upon entry to the three-day conferences. The soundtrack kept us energized during the lunch hours, and perked us up as we left the afternoon sessions each day. Songs not only made our collective space familiar, but encouraged people to share memories prompted by the soundtrack. 

Project Manager Danita Mason-Hogans made sure to have food typical in the South adapted to COH participants’ dietary restrictions, of which she made careful note. In one extraordinary moment, her family brought in four fresh pies and cakes at the conclusion of the last day’s dinner in 2016, invoking a long history of shared meals after church on Sundays across the region. You’ll see the poundcake recipe below. As the delicious aroma of apple and berry pies and sugary fresh poundcake filled the space, feasting together built a different level of community among us.  Finally, slideshow of images from SNCC’s movement activities played in the background in the morning and during lunch of every COH day. Photographers were on hand to make pictures of artifacts and documents that participants brought with them from personal archives; participants often invited others to touch and examine these artifacts, thumbing through mimeographed position papers, weighing the heft of treasured objects like a Kodak Brownie camera, and hearing the first-hand stories of people in treasured photographs. This brought all of one’s senses to the construction of knowledge.  

 Pat Mason’s Cream Cheese Pound Cake 

8oz cream cheese 
3 sticks butter 
3 cups sugar 
6 eggs 
3 cups sifted cake flour 
2 teaspoons vanilla flavoring 

  • Preheat oven to 325. Blend cream cheese and butter. Add sugar and blend until fluffy. Add eggs, one at a time. Add flour and vanilla. Pour into a greased and floured 10 inch tube pan at 325 for 1 hour to an hour 10 minutes.
  • Optional – Before pouring batter in the pan, Sprinkle 1/2 cups pecans in a greased and floured 10-inch tube pan; then add batter.  

Wesley Hogan is Research Professor at the John Hope Franklin Humanities Institute. In June 2021, she concluded an 8-year tenure as Director of the Center for Documentary Studies at Duke. Between 2003-2013, she taught at Virginia State University, where she worked with the Algebra Project and the Young People’s Project. She writes and teaches the history of youth social movements, human rights, documentary, and oral history.

Geri Augusto is a longtime scholar and former activist at the intersection between the politics of knowledge, knowledge practices, creative expression, and struggles for equality and justice in unequal, highly diverse societies and communities. She is the Director of the Undergraduate Development Studies program, a faculty associate at Brown’s Center for the Study of Slavery and Justice (CSSJ), an affiliate in the Africana Studies Department and at the Center for Latin American and Caribbean Studies (CLACS), and a former visiting associate professor of International and Public Affairs and Africana Studies.

Danita Mason-Hogans, MA is an award-winning civil rights historian, educator, speaker, writer  and activist. Danita is a native of Chapel Hill, NC from seven generations on both sides of her family. The daughter of Dave Mason of the Chapel Hill Nine, who began the first sit-in of Chapel Hill’s civil rights’ movement, igniting decade of protests against segregation.Danita’s acclaimed TEDx Talk “Why the Way We Tell Stories is A Social Justice Issue” was featured on TED where she describes the Critical Oral History methodology, which she uses for her podcast RE/Collecting Chapel Hill.

Featured image from Flickr user Wolftracker used with CC BY 2.0 license.

Author Interview: Malin Thor Tureby on Crisis Documentation

In our upcoming issue of OHR (49.2), Malin Thor Tureby and Kristin  Wagrell discuss crisis documentation methods and the impact of digital and social media in their article, “Crisis Documentation and Oral History: Problematizing Collecting and Preserving Practices in a Digital World.” Here Tureby answers our questions about the Swedish context for oral history and ways to approach documentation using oral history in the midst of crisis. 

Q: At the beginning of the article, you state that Sweden is a country that lacks a track record of professional oral history. Has the needle moved at all to where professional oral history is increasing its prescience there? If so, how? What could other countries in a similar predicament learn from Sweden’s experience? 

The long absence of professional oral history as practice in Sweden has meant that other professions, disciplines, and institutions have come to define the collection, archiving, and use of recorded and archived personal memories and life stories in research and public history. In contrast to researchers in countries like the UK, where scholars perceived oral history practices as groundbreaking in the 1970s, Swedish ethnologists had an already established tradition of collecting objects and stories of everyday life. Thus, the opinion was that the perspectives potentially provided by oral history had already been covered.  However, one could also argue that historians from the research field of labour history began to use interviews in the 1970’s. Few of these otherwise very interesting and relevant studies, does not however include any theoretical or methodological discussions of oral history, except for discussing the oral sources in relation to classical source criticism. A common denominator for these books and dissertations on work, work processes and workplaces are that many of them have had an emancipatory aspiration and a history from below-approach. The emancipatory power of oral history is thus emphasized, but not problematized or theorized. The epistemological and methodical debates that took place internationally on oral history during the 1970s and onwards is thus lacking in the historical field in Sweden at the same time. Yet, when the international organization The International Oral History Association (IOHA) was founded in 1996, it was founded in Gothenburg, Sweden. It was not an historian but an ethnologist, Birgitta Skarin, that was elected as a representative of Europe in the Council of the International Oral History Association (IOHA).  

I also think that this is something that is distinctive for the history of professional oral history in Sweden. There have been very little dialogues between scholars from different disciplines practicing oral history or other kinds of ethnographic fieldwork. This was something that we wanted change when we in 2012 we got funding to establish what would become Oral History in Sweden (OHIS). The purpose with OHIS was to try to create a platform for researchers with different backgrounds, inputs to and experiences of working with oral history. The purpose with OHIS was to unite, gather and learn from each other from different generations of scholars and from different disciplines. 

At the same time, in an international context, oral history is often associated with public history. This willingness to engage with oral history in a public context differs from how it has been dealt with by Swedish scholars who have been more focused on “history from below” or ethnology/folklore studies. Oral history research in a Nordic context has in the past primarily been conducted by academics for the purpose of a specific research project, and thus community projects and archives have not been very common. In Sweden as well as in other Nordic countries, participatory practices are now debated, and interviews are currently carried out at a large scale by state-sponsored commissions tasked to document past injustices against minority groups and oral history also plays an important part in the creation of new museums like the newly established Swedish Holocaust Museum. Still, I would I argue that we still cannot claim that oral history is a research field in Sweden. Although we have been trying to create different platforms for promoting dialogues between researchers from different disciplines. An identity as oral historian or a research field of oral history does not exist in Sweden although researchers and scholars from different disciplines are working with oral history and theories and practices for example shared/sharing authority. I don’t know what other countries can learn from the Swedish experience. For me oral history is all about learning together. During the Congress for Nordic Historians that took place in August 2022 oral historians from Sweden, Finland and Norway organized a roundtable together to discuss and understand the past, present and future of oral history in the Nordic countries.  Together we started to explore what theoretical and methodological developments we can see in the field of oral history in the Nordic Countries? What are the major trends and how has our understanding and practice of oral history changed/not changed over time and space? What similarities and differences are there between the history and practice of oral history in the Nordic countries? I am very much looking forward to continuing our discussions and to explore these questions with my colleagues and fellow oral historians from the other Nordic countries to find out ways for how we in the future can cooperate and learn from each other. 

Q: Tell our readers about crisis collecting. What is it and what are its challenges? 

Crisis collecting, documenting in times of crisis or Rapid Response collecting or whatever you would like to call it is when institutions or individuals are taking an opportunity to record and document what they believe is a historic situation as they happen. In the museum-sector it is today called Rapid Response Collecting. I would argue, however, that this is not a new practice. People has always documented in times of crisis or. For example, during the Holocaust many individuals and groups, as for example the Oneg Shabbat group, started to record and document, by doing interviews, drawings, life stories etc., what was going on in order so that someone in the future could write their history. They were documenting their own experiences and trauma and with the knowledge that they would most probably not survive. They did this by interviewing people and by documenting everyday life in the ghetto. The Oneg Shabbat Archives, and other similar initiatives and groups during the Holocaust, is one example of how important oral history work (although not called oral history at the time) has been done in times of war, crisis and catastrophe and also that “crisis documentation” has its own history and historiographies. Today we more often think about crisis collection as archivists, oral historians or heritage organizations’ response to crisis. 

I believe the challenges for crisis collection is in many ways different ethical dilemmas. Questions that we need to ask ourselves as oral historians, archivists or heritage workers are if people really want us document them during times of crisis? And if so, how would they like to be documented, recorded, and represented? As professional historians we think it is important to collect, record and create sources for future historians to work with. But do all people really want their personal or collective experience and/or trauma to be “collected” by an archivist or oral historian and transformed into a source or a story in the archive or museum? Maybe some people prefer to document and interpret on their own terms before they are ready to share their experience with the archivist or oral historian? In a Swedish/Nordic context we really need to discuss and produce Ethical guidelines and “bets-practices” for crisis collecting and archiving. 

Q: What would you say are effective ways for historians to make the right choices on what to collect and record while working in a realm of urgency to document a crisis? 

I do not believe that there is an effective way to make the right choices on what to collect and record. What is important is to document and reflect during and immediately after the collecting: how and why the choices to collect and from whom and how to collect certain stories was made to explain for future historians why certain choices was made and how this shaped the form of the interviews and the collection. An important question to ask is: for whom is it urgent to document a crisis and why? 

Q: In the article, you highlight several projects that take very different approaches. Which approach would you say translates best across most forms of archiving oral history? Which approach do you see evolving? 

Again, I do not think there is one way or forms of archiving oral history that translates best. The most important thing is to always practice transparency and to document and explain how and why the interviews were created and the collection designed and archived in a certain way.  

Q: How do you see oral history and its practices continuing to evolve in the digital age? 

This is a huge and difficult question. Digitization is often framed as a process or tool for democratization that guarantees and broadens access to and inclusion in culture, history, heritage, and education. Governmental initiatives in the Nordic countries have all underscored how digitalization can nurture cohesion in society. Diversifying and democratizing cultural heritage and history through digital measures is, however, a complex and intricate process that is dependent on digital infrastructures, the development of professional proficiencies, and a deeper understanding of the non-digitized archives and their creators.  Compared to many other countries, digital-born life stories or the digitization of personal memories and oral history from so-called vulnerable groups such as for example ethnic minorities or migrants, in Nordic cultural institutions and online archives is limited, because all the Nordic countries have strict personal data acts. One important topic for oral historians is therefor to identify and explore some of the current contradictions and complexities that have arisen in the gaps between the previous practices of oral history research, new legislation on ethics, and the more recent public policy developments on digitization, open access, democratization, and accessibility.  


Malin Thor Tureby is Professor of History at Malmö University in Sweden. Her currently research interests lie in the history of survivor activism, Jewish women’s history, and the archival and digital practices of cultural heritage institutions. She is presently the PI for the Swedish Research team in the consortium Digital Heritage in Cultural Conflicts (DigiCONFLICT) funded by JPICH & the Swedish National Heritage Board and the PI/PL for the research projects Narratives as Cultural Heritage and Jewish and Woman, both funded by The Swedish Research Council.

Featured image from Flickr user Aremac used with CC BY 2.0

 

 

Partition and Oral Histories: Some Personal Recollections

In our upcoming issue of OHR (49.2), Pippa Virdee discusses how shifts in how oral history has been documented and shared impact our understanding of the partition of India and Pakistan in her article “Histories and Memories in the Digital Age of Partition Studies.” Today, the 75th anniversary of Partition, is an apt time to reflect on the changing ways we document and share that history. Access Virdee’s article online in advance of the issue.

By Pippa Virdee

This year marks 75 years since the Partition/Independence of India and Pakistan. Independence from colonial rule was supposed to usher in a new dawn of freedom, but it was marred with violence that accompanied and led to the forced migration of the “other” (minority) community. The impact reverberated far and beyond the new lines of control, however, it was especially concentrated in the two provinces of Punjab and Bengal, which were divided to create the new international border. The generation that witnessed this horrific and turbulent episode has all but disappeared now; what remains are the people who have inherited the legacies of this division based on religion.

Exchange of goods, which were done manually (2005)

In 2000, I began my doctoral research to examine the impact of this Partition, focusing on the divided region of Punjab. I had planned to use the case studies of Ludhiana and Malerkotla in India and Lyallpur (renamed Faisalabad in 1979) in Pakistan. Through these, I planned to examine the impact of violence, or the lack of it as in the case of Malerkotla, migration (forced or voluntary), and eventually the resettlement of refugees. The research relied on first-hand testimonies in these three locations, supplemented by other documentary sources. In 2009, I followed up my research interests on Partition, this time focusing just on women’s experiences.   

 

Expansion of the seating for the tourist that come to the Flag lowering ceremony (pictures from 2016-17).

In undertaking my research between 2001 and 2019, I crossed the Wagah-Attari border, which is the official land crossing between India and Pakistan, numerous times, too many to recount. This is a privileged position, because the average Pakistani or Indian national is not able to cross this international border so easily, even if they manage to get a visa. The border since I first crossed it has changed from what was essentially a small crossing on the Grand Trunk Road, literally a road divided, to a highly securitized international border. The establishment of a goods depot offered signs of improved trade between the two countries, but even this is subject to cordial relations. 

During these numerous crossings, I have seen the border change, physically, and politically. Whenever possible I have attempted to take some photographs to document these trips. However, when I first crossed the border, I had a small compact camera, which used film; they were not cheap and the 35mm film was expensive too, both to buy and to develop, so I took photos sparingly. I of course embraced the convenience and immediacy of digital technology and now my mobile phone takes much better photos than any of the earlier cameras I had. The swiftness of that technological change has been amazing, and it also plays out in the ways that I recorded my oral interviews with people who had migrated during the Partition in 1947. I started with cassettes; the 60-minute tape was usually enough for an interview and switching the tape over after 30 minutes offered a natural break. The break was either a natural end to the interview or it offered an opportunity to pause, think, reflect, and then continue. Mini discs and compact discs also came and went, replaced by Dictaphones/MP3 recorders, and now again the smart phone has made all those redundant.

These changes in technology and how we record and document oral histories has had a big impact on how we also study and disseminate these histories. In my case, in early 2000s, I spent four years traveling across the border, recording first-hand accounts of people who had been forced to flee their homes. The pace of the research was slower, allowing me to listen, record, transcribe and reflect between the journeys. Additionally, there were no distractions of social media and no need to instantly share my experiences for university related “impact.” The flip side of this was that the only way to share my research was via discussions with colleagues, academic conferences, or eventually through publication.

 

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The digital turn in oral history has been a catalyst for the development of new research, and as I explore in this essay, has had a profound effect on the study of Partition in the Indian sub-continent. This has impacted the documentation of Partition, the production of its new histories, and ultimately how this history is shared and consumed. My essay in the Oral History Review asks some questions of this growing field, starting with the interrogation of its location, which is largely in the West, away from the partitioned ground in the East, with its socio-political realities. The South Asian Diaspora in the Global North has increasingly engaged with the subject of Partition, where it has come to form a part of the ‘intellectual decolonization’ agenda. 

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More importantly, this essay attempts to question the power dynamics around the ways digital projects can excerpt, de-contextualize, and de-politicize oral testimonies, by reducing them to sound bites for wider social and community engagement, in which audiences consume and share memory via multiple social media platforms. The essay in some ways goes against the current grain, as oral history projects on countless subjects have adopted similar uses of digital audio and video; however, it is important to reflect on the work that we do and how we conduct that research. We need self-doubt, introspection, and criticality, and moreover, without a rigorous academic discussion, the subject cannot grow. Thus, I have attempted to contextualize this discussion and situate it within the wider historiography of oral history and Partition studies.

The old Attari check post, 2013. This no longer exists.

 

Beyond the changes in technology in these past twenty 20 years, the relationship between India and Pakistan has only deteriorated. Between 2016 and 2019, people-to-people connections between the two countries became steadily fewer. Since 2020, Covid has only entrenched the harsh border further. So, when we share moments of joy at seeing a nonagenarian cross the border to visit their former “home,” as seen recently, this is an exception to the rule. Most people will never have that opportunity, as shared with me in numerous interviews that I conducted. While we can celebrate this exception, the reality remains that the politics of division continue to thrive and therefore influence  how we read, contextualize, and teach Partition history.

 

The Ganda Singh Wala and Hussainiwala check point. This land crossing is now closed but there is a daily flag lowering ceremony here too, though it is smaller compared 2017.

 


Pippa Virdee is a historian of India/Pakistani history and an associate professor at De Montfort University in Leicester, England. She has established herself as a scholar of colonial history, particularly the region of the Punjab, which has been shaped by the 1947 Partition. She also has an interest in the South Asian Disapora in Britain and the transformation of cities such as Leicester and Coventry. She is currently working on a project titled ‘Knitting for the Nation: Women and Pakistan. 

Our featured image, courtesy of Pippa, is the entrance of the border crossing in Attari, India  and Wagah, Pakistan. 

 

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