Tag Archives: exhibits

Local History in our Cities’ Museums

In the U.S., our cities have certain stories of their past to tell:

  1. Life before the European–the story, told mostly through archaeology and treaties, of the American Indian in a particular region
  2. Settlement–a story that often includes conflict, with the previous inhabitants, the landscape or both; sometimes this is a story of innovations, sometimes a story conquest and often it includes stories of tremendous will and perseverance; this is also told through archaeology and occasionally federal and legal documents–under more fortunate circumstances, it includes first person accounts
  3. Growth–a story that explains how a settlement of a few pioneers became a town and then a city; this is usually a story that builds through multiple phases: first as infrastructure improves and again as local industry develops; occasionally these stories include periods of economic and population regression–sometimes it is how they culminate
  4. Local industry–this story features the prominent (usually) men about town that created jobs and economic growth through commercial means and typically effected politics and society, such as Heinz in Pittsburgh, the race track in Saratoga or the ship yards in Baltimore
  5. Local events/catastrophes/individuals–these are uniques stories and major events unique to the region, from cataclysmic natural disasters to military battles to political show-downs or epic instances of courage; they provide much of the local color and show up in any phase along the way
  6. Prejudice and civil rights–these are stories that recognize the local region’s particular participation in our country’s greater history of having failed to live up to our own ideals, tempered with the stories of courage and risk in which those shortcomings were overcome–most of these stories appear in the past tense, often around slavery, Jim Crow or urban renewal, and with the sense that we have overcome those periods and issues
  7. Sports–these stories can also encompass a wide range of periods and are part of the local lore, trial and triumph; these often include a discussion of prejudice at some point, usually looking at the Negro Leagues or desegregation in sports and the impact on society

These cases are often the focus and model for local museums.  As with historical textbook authors and documentary directors, curators are often knowledgeable about either one particular facet of the museum’s exhibits or are specifically gifted in their field and happen to be at a history museum (as opposed to art, for example).  Thus, it is frequently the case that museums, as with textbooks and documentaries, do not always deal with the method behind the displayed knowledge, nor thus the disagreement that often exists regarding historical interpretations.  So, in the same sense there is often the perception of the provided information as being HISTORICAL FACT as opposed to an interpretation of evidence–often the result of hard research, I am sure–but not reflective of historical method, which is itself an end in one’s historical education.

So, the question arises: how do we use this as curious human beings and as educators?

For the curious:

Whenever we visit these museums, we have two options in our approach: we can simply take in and enjoy–a passive edutainment approach–or we can consider what is missing, what evidence is provided for the assertions, what implications arise, what other interpretations exist or other questions–an active thinking approach.  This is all really dependent on one’s own interests.  While visiting the Heinz History Center in Pittsburgh I was really intrigued by a small exhibit that acknowledged the various religious women orders that had been active in Pittsburgh despite a prevalent suspicion for foreign-born Catholics.  The exhibit explained that the nuns earned respect by providing health services for orphans and poor factory workers in the growing steel industry.  An example of each habit was provided and a brief blurb about the order, but little other information or evidence about their accomplishments and relationships in the city.  I was particularly interested because few of the orders had an education–mission which is the stereotypical role, today.

In the sense that the exhibit brought the subject to my awareness it was positive, but that I left with more questions than answers is an outcome for which the merits must be judged by each individual.

For the educator:

These same challenges can be turned into opportunities by educators.  In fact, tapping into the local industry or sports lore may be a really useful way to engage students in challenging concepts surrounding both historical method and content.  Relationships can be fostered between local institutions encouraging students to engage and research the content in the exhibits and learn more about how historians know what they claim to know.  There are, thus, many opportunities not only to engage students with the physical objects of the past, but to engage their attention to the construction of the content.  Local histories are often exhibited in a predominantly positive way, with the darker points of history usually (but not always) relegated to the more distant past, and this also creates opportunities to prompt thought about other perspectives and more balanced understandings of human past and human nature.  (Incidentally, I think it is often the threat of the darker side of history that makes the accompanying sports history that much more appealing and triumphant!  That is unless, of course, there is something inherently unavoidable about the loss, such as the Baltimore Colts packing up and leaving town, or the utter racism that left the Washington Redskins as the last team to desegregate.)

In short, there is opportunity in our local field trip availability that can trigger really useful active thinking–historical thinking, as Sam Wineburg would call it–that we can tap into as educators at all levels.

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Filed under Experiences, Experiencing History - Project Based Learning, Historian's Journal

Visiting the Library of Congress

The original access to the main reading room--the youth on the left is learning and the elder on the right is meant to represent wisdom.

The Library of Congress owes the bulk of it’s establishment to the library of Thomas Jefferson, which was a rather special and extensive library at the time.  Sadly for TJ, it also contributed to his bankruptcy and, thus, his need to sell it off.  Congress did him a huge favor when they purchased it.  When it was in his library at Monticello he divided it into three categories: Memory (Historical interests), Imagination (Literature), Research (Scientific interests).  One of the exhibits in the current building, Jefferson (completed in the 1890s) features a replica of his collection–with most of the books being editions from the years he purchased them.  (Many of the original books have been lost as the Library of Congress had some fires in its early years.)

The artistry is most evident from the floor above the main entrance. Above is a skylight made of stained glass surrounded by aluminum--at the time more valuable than gold!

The main building, called the Jefferson building, is a stunning building of marble, mosaics, statuary, gilded gold and stained glass.  50 artists were recruited from the Chicago World’s Fair to the work on a voluntary basis!  At the end of the project there was a $500,000 surplus, out of which $300,000 was paid to these workers (the rest went back into the Treasury).  The building reflects, as our guide explained, the Eurocentrism that was popular in America during the 1809s: historic men from Western Civilization are depicted–particularly those noted for their love of knowledge and learning–and idealized women are also placed throughout representing abstract ideas–they are not historic unless they represent classical deities.

The L.O.C. does restoration of their books and have even found a method by means of a milk-magnesium vapor to whiten pages that have yellowed with age–a process they predict lasts up to 240 years.  Given the importance of some of their collection, such as a Gutenberg Bible, these processes are essential for the upkeep of the library.  The library is first and foremost a collection for Congress, but is open to researchers who may obtain library cards in the neighboring Adams building.  One requests the books and they are brought from their positions to researchers.  While there are various reading rooms–many devoted to a particular field–I have never been able to turn down the opportunity to sit in the main reading room, except when I was researching in the rare books collection, from which books do not leave to any other reading room.

During World War II Hollywood stars took orders and bussed tables for American soldiers, featured on the wall behind Bob Hope.

For the visitor, as opposed to the researcher, there are always exhibits open to the public and tours are available to explain the building and the collection’s history.  Another fun feature for younger audiences (and a few adults, as well) are the Passports to Knowledge that are available from the information desks.  These Passports provide information to guide you through the building but also have a bar-code that can be inserted in to consoles located throughout the exhibits.  By typing in your information, you can download it onto myLOC.gov and access images and information at home.  With exhibits featuring the New World and American culture especially, this is a really cool feature giving you access to what you have seen on your visit.

Past exhibits at the L.O.C. include:

EXPLORING THE AMERICAS:

Northwest Gallery, 2nd Floor, Thomas Jefferson Building

CREATING THE UNITED STATES:

Southwest Pavilion, 2nd Floor, Thomas Jefferson Bldg

THOMAS JEFFERSON’S LIBRARY:

Southwest Pavilion, 2nd Floor, Thomas Jefferson Bldg

HOPE FOR AMERICA: PERFORMANCE, POLITICS AND POP CULTURE:

Bob Hope Gallery of American Entertainment, Ground Floor, Thomas Jefferson Bldg

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Filed under Experiencing History - Project Based Learning, Historian's Journal, Travel