Professional Documents
Culture Documents
Cultural? Heritage?
Tourism?
lecture series
None of this will come as a surprise to those of you who look at issues of cultural heritage. Thinking about who
your work is for is central to cultural heritage work, and to public humanities work.
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Cultural? Heritage?
Tourism?
lecture series
Imagine Providence website
Use tools to let others be heard.
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StoryCorps, Providence
Another example of using tools to let others tell their story
StoryCorps is the perfect example of the challenge of it not being about us. Oral historians had problems with
StoryCorps; it cuts the experts out. The Public Humanities Center sponsored StoryCorps in Providence.
And its a good transition to Rule #2: Youre not always the expert.
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2. Be a facilitator and
translator as well as
an expert
Shared authority is complicated. In exhibits, its often an invitation to the subject and to the visitor to provide
their stories, and points of view, and to share in setting the rules. Its using oral history in historical projects and
exhibits. Its web 2.0 methods of opening up online conversations. Having that conversation is not easy.
Finding the right balance is tricky. The humanist needs to be not only an expert, but also a facilitator, and a
translator. Seeking that balance is part of the work of every project.
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WELCOME TO THE JOHN NICHOLAS BROWN CENTER
C
oc
k
tails
and C
onversation
How to mix a cocktail party? All you
need to provide is a stage for the
extroverts, an excuse for the heavy
drinkers, girls for the boys - and let
the potato chips fall where they may.
Helen Markel, How to mix a cocktail
party, The New York Times, Nov. 2, 1958
The cocktail party revolutionized
entertaining in the 1950s. The hour of
the cocktail ritualized the transition
between the strict codes of the
workplace and the unabashed gaiety
of playtime throughout the twentieth
century. During the 1950s in particular,
cocktail consumption became the
popular means of expressing and
experiencing the new social construct
of the century, the pursuit of leisure.
For both men and women, hosting a
cocktail party was as much about social
organization and position as it was
about entertaining.
The Museum of Art at the Rhode Island School of Design
is planning the exhibition Cocktail Culture for 2010. The
exhibition will explore the cultural and social signicance
of cocktails in the twentieth century as manifested through
fashion and design. The language invented for and by the
cocktail culture of the twentieth century will be illustrated
by the glamour and sophistication of Christian Dior and
Chanel, the kitsch and whimsy of the Tiki lounge, examples of
furniture, barware, fashion, graphic arts, and even table linens
produced solely for the purpose of consuming cocktails.
Christian Dior, Cocktail Dress, Fall/Winter 1954. Gift of Ronald and Lillian Dick. Photography by Erik Gould, courtesy of Museum of Art, Rhode Island School of Design
p
u
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umanities pro
g
r
a
m
b
r
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w
n u ni ve r s i t
y
Program with
RISD Museum
Not only a fun project: but perhaps being a host at a cocktail party is a model for public humanities. Youre a
facilitator, you help others make connections. Not about you, but youre a catalyst to help interact better.
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Broad Street
Synagogue
A student project to try to nd new uses for this building. Complicated process: students were involved in
making connections between the new community who lives in the area and the former members of the
synagogue, and the group that owns the building today.
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3. Scholarship starts
with public
engagement
The work of public engagement comes not after the scholarship, but as part of the scholarship. I dont like the
implications of applied or translational; those terms suggest we do our work, in our normal way, and that it is
then converted into something for the public. Theres a model here in the transformation of public art. In the
1970s, public art was all too often an art project sprung on a community by a government agency. It came from
the artist, doing his own work, responding to his own community. Public art has moved to a model of
community interaction. Its not just for the public; it comes from the public. What would humanities scholarship
look like if it too developed out of a conversation? What if a humanities department was a hub of a community
of artists, educators, scholars and the public?
45
Educating Change: Latina Activism and
the Struggle for Educational Equity
Matt Garcia project: based on his research, student research, community engagement. Undergraduates and
MA students involved. Worked with community to both tell their story and to give them tools to tell their own
story.
http://www.brown.edu/Research/Coachella/
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Chinese Food
Weve done a lot with food studies in the program. This was reected in an exhibition, and two graduate
students in the program took work they had done talking with restaurant owners and published papers in
Eating Asian America: A Food Studies Reader
47
4. Communities
dene community
Community is important, and hard to dene. Were fascinated by the relationship of community and culture.
But community is complicated, and best dened by the community, not by academics looking in. And so, in my
experience, its better to work with existing organizations than to try to invent them. Public humanities
programs acknowledge that there already exist community organizations, institutions, and leaders, and try to
work with them, rather than come in and try to create programs that we think the communities need.
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Mashapaugs Neighbors project
I already mentioned Mashapaug Pond projects: oral history, cell phone tours, working with local schools,
Urban Pond Procession.
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Underground
Rhode Island
50
Cape Verdean Fox Point was a vibrant, close-knit community
that was displaced by urban renewal, gentrication, and
the expansion of Brown University. But the community lives
on in former residents memories, and in the photographs,
archives, and artifacts so many residents saved. Their
memories and stories come alive in this exhibit.
May 11October 16, 2009
MondayFriday, 14 p.m.
John Nicholas Brown Center
357 Benet Street, Providence, RI
www.brown.edu/jnbc
Remember the Old Times: Cape Verdean Community in Fox Point, 19201945
is a student-curated and executed exhibition that tells the story of the history and culture
of the Cape Verdean community that lived in the Fox Point neighborhood.
C
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V
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Remember the
Old Times Fox
Point exhibit
Already mentioned the Fox Point project - this was a class exhibition. One of the things the students learned
was just how hard it is to dene community. So many ways people dene themselves, so many different
groups within communities: by gender, neighborhood, family
51
The Fox Point exhibit welcomed many Fox Pointers
52
Day of the Dead
Day of the Dead altar, a student exhibit at the Haffenreffer Museum, working with local teen groups
53
Tejela: Weaving Stories,
Weaving Lives
A series of student exhibition projects on Guatemalan textiles. Worked with the Haffenreffer Museum of
Anthropology, the New Bedford Whaling Museum, and a local co-op of Guatemalan weavers in New Bedford.
http://www.whalingmuseum.org/explore/exhibitions/tejela-weaving-stories-weaving-lives-2013
54
Tejela: Weaving Stories,
Weaving Lives
Worked with local weavers, who demonstrated crafts.
This leads to my next rule: work with artists.
55
5. Collaborate with
artists
Calling something art rather than scholarship is a very freeing move. You have more exibility. But working with
artists to both perform and understand culture at the same time is best. You become part of the community
culture, you support it, and you help a larger public appreciate it.
56
A student project that looked at our historic house in a new way: letting artists be inspired by its history
57
Ben Katchors The
Insomniacs Mansion
Fortunate to have faculty interested in art as a kind of scholarship. Paul Buhle brought us some amazing
contacts with artists he had worked with.
Its been an interesting way for faculty to expand their work. Not all of this is directly public humanities, but its
a form of academic connection with a wider public.
58
Worked with RISD student to design this one
59
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A SYMPOSIUM AND EXHIBITION
Jews and American
COMICS
Jews and
American
Comics
Another Paul Buhle project
60
Los Bros Hernandez exhibition - brought by Prof. Ralph Rodriguez
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62
Stih & Schnock
A project by two German artists on memorials, with Prof. Beverly Havilland.
63
Cora Marshall,
Emancipated
Memories
A student-curated exhibition of paintings based on runaway slave advertisements
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Cora Marshall
Fox Point Comics
Artist: Alec Thibodeau
Artist Alec Thibodeau working with the Fox Point oral history project, making oral history work available in a
new way.
65
The Lost Museum
Finally, our most recent work, with artist Mark Dion. A re-collection of Browns lost Jenks Museum of Natural
History.
66
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6. Think Digital
The digital opens up new opportunities for outreach, of course. But it is important to go beyond the digital as
outreach to take advantage of digitals promise of a new kind of openness, a chance to share not just the
output of a project, but every step along the way. And it opens up the opportunity for many voices, many ways
of telling a story.
Not the same as digital humanities - not so much digital as a tool for analysis, more as a tool for connections -
And not something weve done as well as we should.
68
Fox Point Photo History Project
Fox Point Flickr, from some time ago, still seems the most interesting. How can we use free public tools to
make public humanities projects?
69
Rhode
Tour
Working with the RI Council for the Humanities: student project (courses and jobs), many community partners.
Based on Curatescape.
70
Another Curatescape project
71
Call of Lovecraft
augmented reality app
72
7. Humanists need
practical skills
Doing public humanities takes specic practical skills, and universities should teach them. That means
changing PhD programs, and providing new training for faculty. We shouldnt assume that working with
communities is a skill that comes along with a traditional humanities Ph.D. Practical, hands-on skills,
everything from oral history to reading balance sheets, is essential to the work of the public humanities.
73
Project Management
From project management to research to exhibition design and implementation
74
The Museum of
Westminster Street
to research skills:
From The Museum of Westminster Street - research every object on the street. (Credit to Lyra Monteiro for
this project)
75
Guantanamo Public
Memory Project
To teaching-to the public skills
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A.A. TO ZOUAVE
COLLECTI ONS AT BROWN F
R
O
M
An exhibition honoring
the treasures of Brown
Universitys collections.
From the coffee pot that
launched a thousand
Alcoholics Anonymous
meetings to a hand-knit
cap from a Civil War
Zouave regiment, see
what Browns libraries,
museums, and galleries
have to offer.
Curated by students
in American Civilizations
Methods in Public
Humanities course.
DECEMBER 11, 2007 MAY 30, 2008
Monday Friday, 1 5 p.m.
ANNMARY BROWN MEMORIAL
21 Brown Street , Providence, Rhode Island
FREE AND OPEN TO THE PUBLIC.
For more information, please contact the John Nicholas Brown
Center at 401-863-1177 or publichumanities@brown.edu.
Sponsored by the John Nicholas Brown Center Public Humanities
Program and the Brown University Librar y.
A.A. To Zouave exhibition
Student projects have been a key part of the program. Many exhibitions, but also programs and other events.
Content, project management, and public work. Some are class projects, some not.
77
A-Z Exhibit
To knowing how to hang banners on the side of buildings
78
Pulp Uncovered
to organizing events
79
Sexual Education in the 20th Century
BEYOND
the Birds and the Bees
Beyond the Birds
and the Bees
...to talking about difcult topics
So there are seven rules based on what Ive learned. But like all good rules, they just open up new questions.
The last part of this talk: Future: some big questions.
80
Future Big Questions
Big questions or [click] some of the things Im worrying about now, issues that I think the eld needs to
consider.
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Future Big Questions
Or, what Im worrying about
Big questions or [click] some of the things Im worrying about now, issues that I think the eld needs to
consider.
81
Public humanities
and
social change
Is public humanities about describing or about
changing society and culture?
The one my students are most interested in: is public humanities about social change? Three related issues -
social change, politics, social entrepreneurship.
Social change - almost every museum and nonprot describes their work this way now. And certainly public
humanities can work for social change. Id argue that it doesnt necessarily have to do so. Sometimes its
enough to just describe. Indeed, describing, and letting others draw conclusions, seems to me a very public
humanities way to work.
An example I like: Temple Universitys Art Gallery Funeral for a Home
82
Public humanities
and
social change
Is public humanities about describing or about
changing society and culture?
The one my students are most interested in: is public humanities about social change? Three related issues -
social change, politics, social entrepreneurship.
Social change - almost every museum and nonprot describes their work this way now. And certainly public
humanities can work for social change. Id argue that it doesnt necessarily have to do so. Sometimes its
enough to just describe. Indeed, describing, and letting others draw conclusions, seems to me a very public
humanities way to work.
An example I like: Temple Universitys Art Gallery Funeral for a Home
82
Public humanities
and
activism
How about public humanities and social
justice? How political is the eld?
Ruth Simmons, former president of Brown, spoke Friday at the opening of the new Center for the Study of
Slavery and Justice. The Providence paper reported she said it should not be a hub for activism - what she
said was more nuanced, about it being a place for research and debate - which to her is a kind of activism
Public humanities is more than research and debate, but maybe less than activism.
Could we invent a radical public humanities? One might look at an old form of labor activism here - before Taft-
Hartley, when unions did cultural activities, whether the Wobblies or the Old Left. Or today, at whats being
called alt-labor - non-union workers groups. (My thanks to Kate Dietrich for her discussions on this topic.)
One might look at the way in which ethnic studies, in many universities, is tied to activism. Or at many kinds of
social practice art.
83
Public humanities
and
social entrepreneurship
Is there a non-non-prot public humanities?
Can public humanities make you rich?
Social entrepreneurship is the buzzword of the modern university, and public humanities programs need to
gure out how to incorporate it. The basic idea of social entrepreneurship is doing things that were once done
by non-prots, for prot: socially useful businesses. I must admit it stumps me; we need more organizational
expertise, less entrepreneurial expertise. More precisely: we need people who can be entrepreneurial inside of
organizations, rather than being entrepreneurial by setting up new organizations.
Best example of the for-prot public humanities - the original Folkways Records.
84
Public humanities
and
social entrepreneurship
Is there a non-non-prot public humanities?
Can public humanities make you rich?
Social entrepreneurship is the buzzword of the modern university, and public humanities programs need to
gure out how to incorporate it. The basic idea of social entrepreneurship is doing things that were once done
by non-prots, for prot: socially useful businesses. I must admit it stumps me; we need more organizational
expertise, less entrepreneurial expertise. More precisely: we need people who can be entrepreneurial inside of
organizations, rather than being entrepreneurial by setting up new organizations.
Best example of the for-prot public humanities - the original Folkways Records.
84
Public humanities
and
technology
Digital humanities is one approach, because
the digital is easily public - but that doesnt
mean that it is accessible. But theres many
other technologies we should think about.
Digital humanities has many meanings.
An example of the high-tech social entrepreneurship: The Civic Media Lab at MIT - shown is one of their data
murals -- Contratados - what my student Kate Dietrich calls Yelp for migrant workers.
85
Public humanities
and
technology
Digital humanities is one approach, because
the digital is easily public - but that doesnt
mean that it is accessible. But theres many
other technologies we should think about.
Digital humanities has many meanings.
An example of the high-tech social entrepreneurship: The Civic Media Lab at MIT - shown is one of their data
murals -- Contratados - what my student Kate Dietrich calls Yelp for migrant workers.
85
Public humanities
and
technology
Digital humanities is one approach, because
the digital is easily public - but that doesnt
mean that it is accessible. But theres many
other technologies we should think about.
Digital humanities has many meanings.
An example of the high-tech social entrepreneurship: The Civic Media Lab at MIT - shown is one of their data
murals -- Contratados - what my student Kate Dietrich calls Yelp for migrant workers.
85
Public humanities
and
the humanities crisis
Only if you dene the humanities narrowly
the humanities is what humanities professors
dois there a crisis.
A next group of questions about public humanities at the university.
The humanities crisis is really a crisis of denition if you dene the humanities as what humanities
professors and grad students do, or want to do, theres a crisis. If you dene it as people performing their
culture, and understanding their roots, and making community, and creating things based on tradition and
innovation the humanities are going strong.
What that suggests to me is that the way to cure the humanities crisis is to broaden the denition of the
humanities.
But there is a crisis of the humanities - add one word to this title.
86
Public humanities
and
the humanities crisis
jobs
^
Only if you dene the humanities narrowly
the humanities is what humanities professors
dois there a crisis.
But there is a crisis in the humanities in the university. At the graduate level, most of that is connected to the
lack of good, tenure-track jobs for PhDs, and the universitys resistance for reasons having to do with
teaching needs and the nature of disciplines for cutting the size and number of PhD programs.
That brings me to ways to change the phd.
87
Public humanities
and
the Ph.D.
Should you get a Ph.D to do public
humanities? Should all Ph.D students do
public humanities? How should the Ph.D
change to make it more useful?
The Ph.D. Is a vocational degree, designed to train professors at research universities. As its designed now,
its not good training for almost anything else.
It could be. I believe that the Ph.D. should change to include public humanities: practical skills, working with
communities, etc. I am taken with the idea of a professional humanities doctorate, along the lines of a J.D. or
an M.D. - a four year, research and practiced base course aimed not at teaching but at the real world. (See
proposal by Johann Neem in October in Inside Higher Education.)
88
Public humanities
and
undergraduates
If the public humanities is professional
training, is that appropriate for
undergraduates?
I see public humanities as a profession, and Im old fashioned in thinking that undergraduate studies should
not be professional.
However, I think that theres much useful in public humanities work as a piece of a humanities undergraduate
degree: talking to a wider audience, getting out to the community
Browns American studies junior seminar is one approach: the public dened as each professor sees useful,
some about the public, some working with the public.
Next: three worries, beyond the university.
89
Public humanities
and
undergraduates
If the public humanities is professional
training, is that appropriate for
undergraduates?
I see public humanities as a profession, and Im old fashioned in thinking that undergraduate studies should
not be professional.
However, I think that theres much useful in public humanities work as a piece of a humanities undergraduate
degree: talking to a wider audience, getting out to the community
Browns American studies junior seminar is one approach: the public dened as each professor sees useful,
some about the public, some working with the public.
Next: three worries, beyond the university.
89
Public humanities
and
public intellectuals
Is there a new online kind of public
intellectual that connects academics
scholarship, big ideas, and politics?
I dont see how we can train students to become public intellectuals. to compete with the likes of Te-Nehasi
Coates in The Atlantic?
I think we can train students to write well, and blog well, and to be public with their work.
90
Public humanities
and
public intellectuals
Is there a new online kind of public
intellectual that connects academics
scholarship, big ideas, and politics?
I dont see how we can train students to become public intellectuals. to compete with the likes of Te-Nehasi
Coates in The Atlantic?
I think we can train students to write well, and blog well, and to be public with their work.
90
Public humanities
and
the nonprots jobs crisis
Were training students to do great work, but
who will pay them for it?
The bubble of museum studies and public
history programs
This worries me more than the university job crisis I dont have an answer for it. Weve dened this work as
91
Public humanities:
the personal and the
professional
How to separate the visceral from the
intellectual, but keep the connection. Caring,
but being professional.
End with this one - is a very important question. Yes, you want to be able to separate the visceral from the
intellectual - but to keep that connection when you need it. It's a source of power, and engagement. You want
to care deeply about your work - but also, when it's necessary, switch into professional engagement mode.
People talk about code-switching - ipping between languages, cultures. Maybe there's something like that for
public humanities. You're in the business because you care deeply. But at the same time, you bring more than
just caring; you bring a set of professional skills. How and when you use each, and combine them, is one of
the challenges of the work.
The personal is what makes this work so appealing - the professional is necessary to do it well - the challenge
is to nd the right combination
92
Thank you.
End with this one - is a very important question. Yes, you want to be able to separate the visceral from the
intellectual - but to keep that connection when you need it. It's a source of power, and engagement. You want
to care deeply about your work - but also, when it's necessary, switch into professional engagement mode.
People talk about code-switching - ipping between languages, cultures. Maybe there's something like that for
public humanities. You're in the business because you care deeply. But at the same time, you bring more than
just caring; you bring a set of professional skills. How and when you use each, and combine them, is one of
the challenges of the work.
The personal is what makes this work so appealing - the professional is necessary to do it well - the challenge
is to nd the right combination
93