As I reflect on the first four chapters of Introduction to Public History: Interpreting the Past, Engaging Audiences by Lyon, Nix, and Shrum, I realize just how much information they packed into the first half of the book. It is a bit overwhelming and, honestly, too much to unpack in a two-page reaction paper.

 

The first chapter was an excellent overview that made one think critically about the field of public history. While I usually consider the intended audience of a public history site, I have never given much thought to the stakeholders and how diverse this group could be. Involving the stakeholders whose stories are being told is crucial. However, a public historian must be careful to tell the history based on sound historical evidence and not be over-influenced by stakeholders such as benefactors or politicians, who may not have any relationship to the histories being presented beyond their involvement with the organization. This thought on stakeholders puts me in mind of a conversation I had over the summer with the director of my local historical society in which she alluded to the careful balance she must maintain between the board of directors, the county commissioners, the volunteers, the society’s staff, the audience, and the stories the organization wants to tell.  While she is a field veteran, she never imagined that this part of the job would require such careful handling and attention. She advised me to be an excellent listener, communicator, and, at times, a master negotiator. The ‘Jack of all trades’ skillset needed to be a public historian, especially at a small organization with limited resources, is likely more diverse than most of us yet realize. 

 

I found myself highlighting line after line as I made my way through the second chapter, which was filled with valuable information to help navigate the historical methods used by historians. When reading about the concept of history as a practice, my mind immediately went to my experiences visiting Greenfield Village at The Henry Ford in Dearborn, Michigan. The way they use knowledgeable costumed interpreters that partake in day-to-day activities of the era they represent to connect visitors to the past and the histories of the buildings that make up the village is an excellent example of doing history. The interpreters don’t just recite a script but invite visitors to engage with history by asking questions, thinking critically, and exploring the history surrounding them. While not perhaps suitable for all public history sites, this approach seems to resonate well with visitors of all ages.

 

While I found the chapter on oral histories interesting, as I practice most of what was discussed about the practical application of interviewing narrators in my daily work as a videographer, I found I connected more with the fourth chapter, Collecting History.

 

“One of the fundamental realities of collecting is that it is impossible to hold on to everything.”1 As someone with multiple personal collections, this statement holds so much truth yet is so painful as I inherently think nearly everything is worth saving. However, the older I get, the more I find the need and value in curating my collections. I see parallels in how public history sites need to do the same, and I understand the why behind these decisions. As my own collection has grown, I have found that my interests have become more defined, and I only add an item to my collection if it fits specific criteria. My collections are also limited by space restrictions and the cost of acquiring new items. Public history sites face similar challenges, and why I do not parallel the significance of any of my collections to that of a collection under the care of a public history site, I understand the fundamentals of the curation process. As an organization grows and matures, it finds new areas that may align with its stakeholders’ interests. They may run out of space or acquire more room to feature collections. Artifacts may no longer align with their mission or would be better suited for a different caretaker. A collection is ever-evolving, and a good public historian recognizes this and the challenges that come with it.

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1. Lyon, Cherstin M., Elizabeth M. Nix, and Rebecca K. Shrum. 2017. An Introduction to Public History: Interpreting the Past, Engaging Audiences. Lanham, MD: Rowman & Littlefield, 117.