The most recent issue of the OHR includes an article about the Australian Generations Oral History Project and the importance of “aurality” to oral history
In the words of our very own Troy Reeves, the OHA Annual Meeting offers a “yearly dose of sanity.” Whether you’re reading this while waiting for one of the panels to start, sitting this one out, or reflecting back on the excitement of the meeting later, we want to bring you a little taste of the fun. Below you can hear from a handful of oral historians on why they love the OHA Annual Meeting, as well as a look at social media activity during the conference.
As has become OHR tradition, we have enlisted the help of a local to serve as a guide to the upcoming OHA Annual meeting in beautiful Long Beach, California. Below, Mark Garcia shares some of the city’s fascinating history, as well as his personal recommendations for oral historians who want to venture out and see some of what the city has to offer.
Throughout 2016 we’ve featured oral history #OriginStories – tales of how people from all walks of life found their way into the world of oral history and what keeps them going. Most recently, Steven Sielaff explained how oral history has enabled him to connect his love of technology and his desire to create history.
We spend a lot of time in this space pointing to particular people or projects that we think are doing interesting things with oral history. In June we talked to Josh Burford, who is using oral history to start important conversations in North Carolina. In April, we heard from Shanna Farrell, who discussed Berkeley’s Oral History Summer Institute.
Podcasters P.J. Vogt, host of Reply All, and Starlee Kine, host of Mystery Show, addressed sold-out sessions at the Sydney Writers’ Festival last month, riding the wave of popularity engendered by Serial, the 2014 US true crime podcast series whose 100 million downloads galvanised the audio storytelling world.
Since this is an oral historian origin story, I feel I need to begin this post with a bit of a confession. Even though I earned a bachelor’s degree in History from Baylor University, it was not until the summer of 2011, the term before I was to begin my graduate work at Baylor in the Museum Studies program
As students in Columbia University’s OHMA program we are often urged to consider Oral History projects that not only serve to archive interviews for future use, but that “do something.”
For Manissa Maharawal, the struggle for housing justice is personal. When her own father got displaced from his apartment in Prospect Heights—his home since moving from India to the States some thirty years before, in which he raised his family—she was struck by his unstoppable urge to tell the story over and over again.
The #OHMATakeover of the OHR blog continues as Sara Loose explains her origins in oral history and how the skills and perspectives she gained at Columbia have influenced her career so far.
Moustafa Bayoumi presented his book This Muslim American Life as part of the Oral History Workshops at the Columbia University Oral History MA Program.
I came across Oral History and Childhood Memories by Evan Faulkenbury on the Oral History Review’s blog. His emphasis on narrators’ earliest memories caught my eye.
This year, we have focused on people and institutions using oral history in innovative ways, discussing the challenges they face and their motivations for using oral history to make positive changes in the world.
In their substantial essay from OHR 43.1 on the peculiarities of queer oral history, authors Kevin Murphy, Jennifer Pierce, and Jason Ruiz suggest some of the ways that queer methodologies are useful and important for oral history projects.
We all have that one teacher who inspired us, guided us to our calling in our formative years, whose lectures and project assignments become a piece of our professional identities. So, here it comes: one of my history teachers was singularly, as my teenage self might put it, the pits.
The current issue of the OHR invites diverse authors to share their experiences listening to and learning from LGBTQ lives. This week, we bring you a short interview with one of the contributors, Marion Wasserbauer, whose article “‘That’s What Music Is About—It Strikes a Chord’: Proposing a Queer Method of Listening to the Lives and Music of LGBTQs” suggests that music is an integral tool for listening to a narrator’s voice.