In early August 2020, OHC staff gathered once more for a weeklong event: our annual Advanced Summer Institute, where we teach the methodology, theory, and practice of oral history to other practitioners. In 2020, however, COVID-19 upended our best intentions for an in-person event, and the OHC made the bold decision to turn this weeklong seminar – from lectures to small group discussions to interview exercises – into an all-digital experience. Certainly this was a sharp left turn for our office and required retooling. Nonetheless, we had a record number of applicants and 50 participants from around the world, which proves that the demand for oral history education remains strong even during a global pandemic. Despite changes for this year’s Advanced Summer Institute, I am now better able to appreciate what remains constant about the practice of oral history.
One way in which this all-digital format changed the Advanced Summer Institute was in increasing its international draw. In previous years, we have welcomed a smattering of participants from around the world. Admittedly, however, the additional cost for traveling internationally to Berkeley is something that has kept these numbers relatively low. In 2020, our all-digital format not only eliminated the cost of this travel, it also created a space for participants from several continents and timezones to join us for stimulating discussions – even in the wee hours of the morning – and share a variety of perspectives about interviewing across different cultures. Especially during a time when we are socially distancing from even our closest friends and neighbors, it was a joy to see people from around the world gather together in this way.
What did not change in our 2020 Advanced Summer Institute was the OHC’s emphasis on teaching oral history best practice through both practical experience and shared knowledge. Indeed, we doubled down on connecting participants to one another through an expanded interview exercise, wherein paired individuals planned a pre-interview and then engaged in 30-minute oral histories. They then switched roles so both could experience conducting an oral history and participating in one. From initial feedback, participants found this a valuable activity because it taught them how to ask better questions and to empathize with narrators. We also made sure to continue our small group discussions in the digital format so that participants could present their individual projects and ask for feedback in a smaller setting. This, too, proved important to sustain.
Despite these many successes, it is still important to acknowledge what we lost in this new digital format for the 2020 Advanced Summer Institute: the conversations in between sessions or during lunch that lead to meaningful connections, hands-on help with recording equipment, a distraction-free week of learning, and a sense of place near our offices at UC Berkeley. And yet, participating in this seminar – and indeed working as oral historians in the era of COVID-19 – seems to have encouraged all of us to examine the role of storytelling and documentation in this challenging moment. The resounding chorus I heard at the Advanced Summer Institute was that now more than ever we need oral history to help humanize the past and record the present. Personally, this experience reinforced my desire to connect with people – even over long distances – especially the narrators I interview in my own oral history practice.
by Shanna Farrell
Meagan Gough attended the Oral History Center’s Advanced Summer Institute in August 2017. We recently caught up with her to see how her time with us helped her develop her project around the Semá:th First Nation in British Columbia, who an indigenous to Canada.
Q: You attended the Summer Institute in 2017. What were you working on when you joined us?
MG: The Semá:th Traditional Use and Occupancy Project (“TUOS”) invited the participation of Semá:th community members from the Semá:th First Nation in British Columbia, Canada to document their connection to, and care-taking responsibilities over, natural and cultural resources within Semá:th traditional Territory and beyond. The TUOS project combines oral history interviews, GIS Mapping historical research and community engagement and events to accomplish the following goals:
- To record and map how access, use and occupancy of important cultural and natural resources is determined and understood by a diverse group of Semá:th Knowledge Holders made up of men, women, Elders, youth, political and spiritual leadership.
- To add layers to the existing historical record about Semá:th culture, history and identity through the transmission of two main types of Semá:th oral history: Sqwélqwel (genealogy or “true news”) and sxwōxwiyám (stories of long ago, origin stories).
- Engage Semá:th Knowledge holders in vision for future caretaking of land, water and air to reflect Semá:th history, culture and protocol.
- Assert Semá:th Right and Title through policy and practice, including Specific Land Claims.
- Celebrate and promote Semá:th cultural identity, knowledge
- Strengthen the capacity of the Semá:th Lands & Resources Department to respond to development referrals in Semá:th Territory.
- Draw upon community input to create and support opportunities for lands-based activities and programs in the community.
- Support seeking solutions to the mental health and suicide crisis in community using lands-based teaching and oral history.
Q: How did your time at the Summer Institute inform your project?
MG: Participation in the Advanced Institute provides a unique opportunity for general learning, reflection and engagement with oral history methods, practices and projects but also to workshop our own individual projects. This allowed us as participants to move between the macro and big picture methods, debates and teachings of oral history which inform our work and the practical individual application of this knowledge into practice in our own projects.
I found this to be a deeply enriching experience, particularly because my small group was comprised of scholars and researchers from diverse disciplines. As a scholar who draws simultaneously from disciplines of cultural anthropology, history and oral history, the input provided to me about my project during our small group presentation was extremely helpful and came into practical use since. Given the central importance of oral record in the Semá:th community, I came to the Advanced Institute with questions about ideas of how to engage community youth and elders using oral history interviews and storytelling to draw upon this record.
One suggestion was an Elder-Youth storytelling circle. A version of this became one of the central activities in Phase 3 of our project. Our Elder-Youth Storytelling event invited Elders and Youth to take turns in the roles of speaker and listener: We matched Youth and Elders and first the Elders shared lands based knowledge and oral history. The youth then had a two week period to reflect upon and interpret this oral history and present it back to the Elders and the group via a medium of their choice: writing, poetry, spoken word, song, dance, performance, and visual arts were all encouraged. The Elders then assumed the roles of listener. The circle had multiple goals: to fortify relations between Elders and Youth, to provide a unique opportunity for the transmission of traditional and historical cultural knowledge, and to encourage the exploration of the dialogical elements of such an exchange. How did the youth interpret the stories? Did the speakers feel their stories were understood as they intended them? The Youths’ art projects are currently displayed in the Semá:th Band office.
The second primary way that participation in the Institute informed our project was the inspiration I took from some of our key presenters, especially the Oakland Chinese Community Oral history project. This is where I learned about the concept of a Storymap – a digital multimedia platform to preserve and present community maps. In 2018 and Phase 3 of TUOS project, we commenced the creation of our own Storymap. Through the use of oral histories and photographs shared via TUOS interviews with Semá:th Knowledge Holders, the Semá:th Genealogy Mapping Storymap was aimed at using geneology to map the movement of ancestors of the Semá:th First Nation.
Q: What is the status of the Semá:th Traditional Use Study now?
MG: We have received successful funding from BCCI our funding agency, and commenced Phase 4 of the TUOS project. To date, we have recorded over 25 oral history interviews with Semá:th Knowledge Holders, as well mapped over 500 traditional use sites. We have created a database to archive and preserve this information so it may be used by Lands Department staff to respond to the overwhelming number of referrals from government and industry involving Semá:th Lands. We have also conducted historical and archival research and created a Semá:th historical photo collection, also housed in the database. We have hosted a number of community events which sought to seek input from Knowledge Holders as well as to keep them informed about the status of the project.
Q: You’ve described the Summer Institute having ripple effects on your work. Can you tell us more about this?
MG: My participation in the Advanced Institute was, without exaggeration, by far the most enriching professional experience I have had in terms of a course or workshop. Having practiced oral history interviewing for over 15 years, I came away generally feeling inspired, refreshed and also extremely appreciative of having my practical workshop questions answered. I was able to continue to build upon the input of my small group colleagues to integrate it into our project. I made professional contacts from around the world, some of whom have gone on to become friends. The ability to workshop our projects with a small group truly allows a deep insight into the workings of other oral history projects and by virtue of listening how technical, ethical and practical elements are addressed and resolved. The ripples of my participation are evident in tangible form via the practical application of my learning at the Institute into the creation of the Storymap as well as our Elder-Youth Storytelling Circle Event.
Q: What’s next for the project? What’s next for you?
MG: We are currently in Phase 4 of our project, we are building another “layer” of our Storymap this year which maps how traditional caretaking responsibilities extend far beyond the borders of reserve (reservation) lands across the Province, country and Internationally into the United States. We are also contributing chapters to a forthcoming publication exploring hidden histories of British Columbia. (Working title, stay tuned!) The interviews are being used in a number of capacities, asserting Right and Title to Lands, including specific land claims, on reserve lands based policy, negotiation with industry and Government.
For myself, I have just become a first time mom, so life is busy and I am full of joy and gratitude. As I write this now, I consider it a dispatch from “babyland” a unique space of the spirit and one which provides a new lens on everything in life. I hope to share the beauty and power of listening, of stories and of learning with my baby as she grows. I would like to take this opportunity to thank the Berkeley Institute and all those whose hard work make it come to fruition. “All things Flow, Nothing Stands Still” – there is always something more to learn, another story to listen to, another perspective to understand. Oral history is endlessly inspiring!
One of our favorite parts of the Oral History Center’s annual Advanced Summer Institute is the opportunity to hear from others who are using oral history in their work. One of our favorite guest speakers, Dr. Robert Keith Collins, will be back again to discuss how he uses oral history, and person-centered ethnography, in his work on American Indian cultural changes and African and Native American interactions in North, Central, and South America.
Q: How did you come to oral history?
Oral history has been something that I have grown up with, as the telling of family stories was a way that my family ensured I knew who my relatives were, what they were, where they were from, and what they went through. In my professional career, my exposure to oral history came through studying anthropology, Native Americans studies, and Ethnic Studies, particularly African American cultures and histories. Within these fields of study, oral history told the stories uncorroborated by the historical record. Although, eventually some were. This taught me that oral histories and written histories are two sides of the same coin. Both records are accounts of the past; however, oral history offers insight into the agency individuals exert in their lives and the observations that they make of the world around them.
Q: How do you use oral history in your work?
In my research, I take a person-centered ethnographic approach, which looks at individuals within cultures and how they remember their past through what they say, do, and embody. Respondents are interviewed at least fifteen times to show their evolving understanding of lived experiences. The oral histories that are obtained reveal how individuals understand their experiences, may say one thing and do another in certain situations for an expected outcome, and remembered pasts that have been actively – not passively – navigated and negotiated though choices. From these, my analyses attempt to be holistic by examining the relevance of what individuals say, do, and embody on how they impact the people around them and how the people around them shape their choices and experiences.
Q: Your work deals a lot with race and identity, particularly in the Choctaw Nation. How do you feel that oral history is uniquely positioned to explore questions of identity?
My work deals with race and identity among Choctaw descendants both within and outside of communities with significant populations. The reason my work has evolved this way is that I have found commonalities in Native American mixed-blood populations, both black and white, who experience daily challenges to the ancestries that they assert, while trying to maintain their sense of self as a person of Native American ancestry and/or cultural practices. Oral history, as a resource, allows me to explore the Works Progress Administration (WPA) Slave narratives for the lived experiences of enslaved individuals of blended African and Choctaw ancestry and those of unmixed ancestry that were Choctaw in cultural practices and language. Through these oral histories, I am also able to examine how they coped with slavery, especially those that were bought and sold by both Choctaw and white American slave holders and needed to adapt to the lifeways of each. It is important to remember that the WPA interviews represent a body of oral histories that center on a question rarely asked of formerly enslaved individuals: What was it like to be a slave? The person-centered ethnographic approach allows me to interview and listen to their descendants and analyze how individuals continue to cope with the inconsistencies between identification as Choctaw descendants while being racially recognized as black or white. I have found that oral history help us examine the answers to the question “Who am I?” that respondents give far better than any other medium, as there is very little that one can learn about individual lived experiences from collective or group experiences, except for common experiences, which shed more light on the social rather than experiential phenomena.
Q: You’ve discussed a person-centered ethnography as an approach to oral history. Could you describe this and share an example of how you use this in your work?
Yes. As mentioned, a person-centered ethnographic approach enables the understanding of individuals as active and not passive observers and participants in their own lived experiences. In my work with individuals of African and Native American ancestry, I will interview respondents 15-20 times to understand why they said what they said, did what they did, and represent to themselves something they did or do not represent to others within and outside of their families. Unlike the oral historian, who interviews respondents once in a setting, 15-20 interviews allow me to understand how a respondent’s understandings of my questions have changed and evolved over the course of the interview process. This time commitment also enables the respondent to reflect on the questions asked, the memories the questions evoked, and the answer(s) and stories told during interviews. These practices often lend to subsequent interviews becoming more in-depth and detailed about the respondents’ motivations and self-identification within contexts. For example, when exploring the oral histories left by Indian Freedmen, or former slaves of Choctaw slaveholders, and African-Native American children with enslaved Choctaw mothers and fathers, I noticed common themes between what they said about their family origins and the lifeways that they practiced; however, inconsistencies in identification practices that related to nineteenth century slave recognition practices were also noticed. An individual in one context would self-identify according to genealogical ancestry when describing their experiences as a slave to the WPA interviewers, and as a slave when describing interactions with former slave owners to the interviewer. This situational variance led me to believe, and support my hypothesis, that even for former slaves, the answer to the question “Who am I?” was context depended and there was much left to learn about the complex identities as children, despite illegitimacy, of enslaved and/or slave holding Choctaw individuals. This variation also enabled me to illuminate the why behind why they represented to themselves something other than chattel that they had represented to others, especially slave holders.
Q: When you teach oral history methods at San Francisco State, what are some of the key things you want your students to take away from your classes?
When I teach oral history at San Francisco State, I want my gators, especially the American Indian studies majors and minors, to learn the importance of being a good listener and take away the notion that there is much history in the oral narratives that people leave behind and are told to individuals, communities, and/or subsequent generations. It is a practice that predates written histories, still in use by over 90% of the world’s population, and offer us insight into human experiences, particularly with racism and identity. Within these remembered and spoken histories is evidence of what human experiences, especially with race and identity, are like from first-person perspectives. They require our attention and respect as much as the peer-reviewed written histories to which they were exposed.
Robert Keith Collins, PhD, a four-field trained anthropologist, is Associate Professor of American Indian Studies at San Francisco State University. He holds a BA in Anthropology and a BA in Native American Studies from the University of California at Berkeley. Dr. Collins also holds an MA and PhD in Anthropology from UCLA. Using a person-centered ethnographic approach, his research explores American Indian cultural changes and African and Native American interactions in North, Central, and South America. His recent academic efforts include being a co-curator on the Smithsonian’s traveling banner exhibit “IndiVisible: African-Native American Lives in the Americas,” an edited volume with Cognella Press (2017) on “African and Native American Contact in the U.S.: Anthropological and Historical Perspectives”, an edited volume for the American Indian Culture and Research Journal at UCLA (2013) on “Reducing Barriers to Native American Student Success”, a forthcoming edited volume under contract with Routledge on “Studying African-Native Americans: Problems, Perspectives, and Prospects,” a forthcoming edited volume under contract with Cognella Press (2019) on “Native American Populations and Colonial Diseases.”
We recently caught up with Kelly Navies, who joined us in 2013 for our Summer Institute. She is now the Museum Specialist in Oral History at the Smithsonian National Museum of African American History and Culture, where she coordinates their Oral History program. We talked to her about how she came to oral history, what she learned at the Institute, and her current work with the Smithsonian.
Q: How did you first come to oral history?
A: I first came to oral history, while I was an undergraduate at UC Berkeley in the African American Studies Department back in the early 1990s. In the Fall semester of my senior year, I took two courses which had a profound impact on my life; African American Poetry with the late June Jordan, and Images of Black Women in Literature with the late Barbara Christian. Prof. Christian assigned an optional paper to write about a maternal ancestor who’d lived during the 19th century. At the same time, June ( she preferred to be called, June), assigned a poem about mothers. Receiving these two assignments at the same time, inspired me to decide to pursue a research project on a maternal ancestor my mother had been telling me about all my life, but whom she actually knew very little about. All she knew was that she had been enslaved in Asheville, NC and had lived over 100 years into the 1950s, when my youthful mother had actually met her. At the time, all 6 of my grandmother’s siblings were still living ( she was deceased), so I embarked upon an oral history project to interview them all about their grandmother. Through a combination of genealogical research and oral history interviews, I eventually learned that she was named, Elizabeth Gudger Stevens, had indeed been born into slavery in Asheville, NC and had lived until 1956, when she was either 102 or 106, depending on who you believe ( no birth records, of course). It must be added that the only reason I knew “oral history” was a thing at all was because of a 7th grade English assignment and being introduced to Zora Neale Hurston at an early age.
Q: You attended the Advanced Oral History Summer Institute in 2013. What project were working on?
A: When I came to the Advanced Oral History Summer Institute in 2013, I was working as a Special Collections Librarian and Oral Historian for the Washington DC Public Library System. I had received an MLIS grant to pursue the “U Street Oral History Project.” The U Street corridor was the thriving heart of the African American business and cultural community in Washington, DC up until 1968, when many of the businesses were destroyed during the urban upheaval that followed the assassination of Dr. King. In fact, it remained a central location for Black life in Washington, DC up until the recent demographic transformation that has marked the city. For this project, I conducted over a dozen audio interviews that are now available from the DC Public library website: (dclibrary.org) Three audio clips from this project have been made into podcasts that are also available from the DC Public Library website. I also held a public program at the Busboys and Poets restaurant on 14th St., right off of the historic U Street corridor, where I invited interviewees to participate. Finally, I shared the research project on a radio program at WPFW.
Q: How did your work benefit from the Summer Institute?
A: The Summer Institute introduced me to the work of other oral historians from around the world working in a variety of disciplines from academia to independent scholars and artists. I have kept in touch with several, in fact. It also brought me up to speed on the technological and theoretical state of the field. Finally, I really enjoyed learning about Robin Nagle’s oral history work with sanitation workers.
Q: You now work with the Smithsonian. What’s the role of oral history at the museum?
A: As Museum Specialist in Oral History here at the Smithsonian National Museum of African American History and Culture (NMAAHC), I coordinate the oral history program, which involves planning, budgeting, developing projects in collaboration with curators, and yes, interviewing. All of our interviews are filmed. However, I don’t conduct all of the interviews- in some cases, I conduct the research, help develop the questions, and handle the logistics. I also do trainings for classes and community groups.
Q: How do you get the public to engage with oral history?
A: Our oral history collection is cataloged along with other artifacts and are available for use in exhibitions for as long as we preserve them. Most recently, we conducted interviews for the Poor People’s Campaign Exhibition, City of Hope, and clips from those interviews were included in the exhibition. Visitors to the museum will also find oral history interviews located throughout the museum. For example, in our community galleries on the third floor, there is a clip of an interview I conducted with Mr. Frank Wright about his family’s generational involvement in oyster fishing on the Eastern Shore of Maryland. The oral history program also includes thousands of recordings captured in our Reflections Booths which are located in the history galleries. Here, visitors choose a question and record their answers in two minutes or less on a built-in camera. They then can choose to email it to themselves and/or share it with us.
The Community Curation Project is sponsored by the Smith Fund. Also, the full name of the Poor People’s Campaign exhibition is: City of Hope: Resurrection City & the 1968 Poor People’s Campaign. It is curated by Aaron Bryant and is on view at the National Museum of American History.
Q: What do you hope the public takes away from the oral histories in the Smithsonian’s collection?
A: When visitors encounter oral history in the museum, I hope they understand that history is a living breathing thing and not just something you read about in books. I hope it increases their awareness and interest in the stories of their elders and others around them.
Q: What kind of projects do you draw inspiration from?
A: I find all of my projects/interviews inspirational. The oral histories of African Americans reveal deep truths about America and about the human condition, overall. Each story I capture reminds me that there are so many other stories. oral history is a passion that is endlessly gratifying. Most recently, I had an experience that speaks to the significance of recording these stories. I interviewed a woman who knew that she wouldn’t be with us much longer-a black woman who had accomplished much in her life, and yet was still worried that her work might be forgotten-her narrative was profound and reflective. She passed away not long after and her family asked me to share some of what I had learned about her life at the memorial service. I truly consider the work we do, as oral historians, to be a sacred honor. We facilitate and capture heroic stories of ordinary individuals that are often relegated to the margins.
by Martin Meeker
Since 2002, the Oral History Center has hosted a week-long advanced institute on oral history theory and methodology every August. We’ve welcomed over 500 people from across the country and around the globe, with another 30 about to join us this year. As my colleagues and I prepare for this year’s program, I wanted to reflect on where we’ve been and where we’d like to take this most worthwhile endeavor.
The first institute in which I participated was the second, in 2003. I had recently come to what was then known as the Regional Oral History Office, or ROHO, as a postdoc working with then-director Richard Candida-Smith. That first year (and, frankly, several that followed) are now nothing more than a blur: the experience was definitely one of those “drinking from a firehose” situations. Although I was soon to join ROHO as an interviewer, I now look back and see myself as a real oral history novice. I had read the requisite articles (Portelli!) and conducted a number of interviews, but my experiences were relatively few and not very diverse. The Summer Institute opened my eyes to many aspects of the interview that I had never really considered in any depth. I remember one session taught by guest faculty Jeff Friedman about movement and the performative aspects of oral history. Not that I needed any encouragement to feel more self-conscious in an interview setting, but this got me thinking more about the complexities of self-presentation, body language, and the dreaded yawn that sometimes escapes the mouth of an interviewer.
Subsequent years saw a number of interesting guest faculty appearances along with a revolving roster of OHC interviewers, but for the first dozen institute, the stalwart was Lisa Rubens, who curated and ran the institute. Lisa and I recently met for coffee and we discussed how the institute has changed in interesting and productive ways over the years, but one thing has been true since the beginning: the week is always invigorating (if exhausting) and one can always expect a slightly euphoric afterglow. With so many new relationships forged, so many opportunities to learn and share knowledge, the experience always is worth it.
On August 6th we’ll welcome our next group of summer institute participants. Shanna Farrell, who has led the institute since 2014, has planned what promises to be yet another always fascinating, and sometimes challenging, week of presentations, roundtables, and workshops. I’ll be presenting a updated version of my legal and ethics talk, which is inspired in part by my recent work on the committee revising the Oral History Associations documents on ethics and best practices. We are hosting another Tuesday evening presentation, free and open to the public. This year Erin Riggs will discuss the 1947 Partition Archive, which documents the troubled split of India and Pakistan. In addition to this, I’m especially looking forward to a panel on the final day of the event created by our two newest interviewers at OHC, Amanda Tewes and Roger Eardley-Pryor. They’ll not only discuss the performative aspects of oral history, they’ll…well, I don’t want to give away the surprise, do I?
Every year after the conclusion the institute, the faculty read very carefully the feedback provided by participants, and we take what they have to say seriously, often incorporating participant ideas into next year’s program. So, this institute has become a continuous learning experience for all of at OHC, which is what we hope it is for the participants too.
Charles B. Faulhaber Director
July 27, 2018