When the 1988 Constitution recognized and gave lands to black rural communities descending from slaves, the black peasants of Brazil made a sudden entrance into the country’s political realm.
A few weeks ago we began counting down to the OHA Annual Meeting, which is now just around the corner. Today, as promised, we bring you an insider’s look at Twin Cities from Gabriale Payne, who will be our correspondent on the ground throughout the conference. Enjoy her tips, and add your own suggestions in the comments below or on Twitter using the hashtag #OHA2017.
One of my favorite tasks as the OHR’s Social Media Coordinator is interviewing people for the blog. I get to talk to authors of recent articles from the OHR, oral historians using the power of conversation to create change, and a whole lot more.
With school getting back in session, today on the blog we are exploring how instructors are using oral history in the classroom. The piece below, from filmmaker and UCLA Lecturer Virginia Espino explores the power of oral history to connect students to their campus community, and to help them collaboratively rethink what working class identity means in the modern era.
It’s no secret that we here at the Oral History Review are big fans of the OHA Annual Meeting. It’s our annual dose of sanity, a thoroughly enriching experience, a place to make connections, a great opportunity for young scholars, and the origin of some lively online debates.
Dan Kerr acknowledges in his article, “Allan Nevins Is Not My Grandfather,” that most historians of oral history tend to dismiss the Federal Writers’ Project (FWP) as a mere “prehistory” of the field, because the vast majority of FWP interviews were recorded with pen and paper rather than with machine.
Back in March we heard from our friends at the Samuel Proctor Oral History Program (SPOHP) at the University of Florida, who had traveled to the Women’s March on Washington as part of an experiential learning project. Building on the work they did at the Women’s March, they returned to Washington, D.C. in June to document the city’s Pride Weekend, including the Equality March for Unity and Pride, the QT Night of Healing and Resistance, and more.
At the 2014 OHA Annual Meeting, the African American Oral History Program at Story For All received the prestigious Vox Populi Award, one of the highest honors in the oral history world.
How might we, as oral historians, make the voices of those who have lived and live in our communities available to all? For the past 10 years oral history programs all over the country have been digitizing their collections and putting them online.
Last month we brought you a short interview with Katie Holmes, about her article, Does It Matter If She Cried? Recording Emotion and the Australian Generations Oral History Project, asking how to read and make sense of emotion in oral history.
With Memorial Day in the U.S. right around the corner, we’re bringing you a glimpse into a handful of oral history projects focused on collecting and preserving the memories of military veterans.
The most recent issue of the OHR featured two stories on understanding emotion in oral history interviews. In one piece, Julian Simpson and Stephanie Snow asked what role humor plays in healthcare, and how to locate it in oral history. In another piece, Katie Holmes asks how to locate historical emotion during an interview and how to interpret these feelings.
One of my first oral history performance experiences was watching E. Patrick Johnson perform Pouring Tea: Black Gay Men of the South Tell Their Tales, the readers theater version of his oral history collection, Sweet Tea: Black Gay Men of the South, at Texas A&M University.
As a young person, I spent several hours a week learning with a group of immigrants who did maintenance work at a local golf course in Virginia. Supposedly, I was helping them learn English. I did do some of that. A lot of what I did, though, was learn.
In early March, ABC released a much-anticipated mini-series that followed a group of activists who played important roles in the emergence of LGBTQ political movements. The show, When We Rise, was based in large part on a memoir by veteran activist Cleve Jones.
The crossroads, in Southern folklore, represents a place where worlds meet. It is a place where realities collide and deals can be made. Since the 2016 election I have experienced colliding realities on an almost daily basis.