Digital technology has enabled public historians, cultural heritage professionals, and history students to collaborate with diverse audiences and explore history’s role in civic engagement in ways previously unimagined. The partnership between the Virtual City Project and the Restoration Group described by Andrew Hurley in “Chasing the Frontiers of Digital Technology: Public History Meets the Digital Divide” demonstrates the exciting possibilities as well as challenges advanced digital tools provide, especially in the face of limited budgets, long software development cycles, and varying levels of digital access. Read More
This past August, I went with a group of historians to see the much acclaimed, and now Grammy-winning, musical, Hamilton. Our timing was just right. The ticket prices were reasonable (for the Great White Way), costing nowhere near the astronomical sums people pay now. Read More
Public historians have spent a good deal of time looking at how history is performed in museums and living history sites, in reenactments, and on film and television. Theatre, opera, and musicals have received far less attention, and one reason for this might be that these forms of representation are often thought of as elitist.[1] Read More
Whenever a public historian asks me whether it’s worth the time and effort to run for office in a historical association, or to serve on a committee, I strongly recommend giving it a try. Over the nearly forty years I spent at the Senate Historical Office, I calculate that I spent almost half of that time also serving in one elected office or another in various historical associations and beyond that on any number of standing or ad hoc committees.
Recently, I received the announcement of the Founders Award that the National Council on Public History will present later this week to me and to Philip Cantelon, my colleague of many years, various associations and initiatives. Reading the citation for the award brought back many treasured memories of the early days of public history, especially memories of individual historians who were mentors and co-workers and who became invaluable friends. Read More
The American narrative, like any cultural narrative, consists of stories that structure and assign meaning to the nation’s origin, history, and existence. In theory, this narrative can link Americans who have experienced genocide, slavery, and white privilege. But for people descended from enslaved peoples, this narrative has instead been used to conceal the inconvenient truths of systemic historic and current racial injustice and inequality. Read More
Lyra Monteiro is certainly right, when she notes in her review of Hamilton: An American Musical, that mainstream American culture has a lamentable tendency to embrace and retell certain stories about American history, including that of the founders, with greater frequency and enthusiasm than the many other stories that require more difficult reckonings with the past. Read More
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