The methods and processes of collecting, preserving, and presenting objects of cultural heritage and oral histories can be demanding, complex and site specific. [+]
Objects and stories are recognizably distinct from each other, yet when connected, the power of both the object and the story can be amplified and channeled in many directions. Tapping into the stream of information and knowledge fed by objects of cultural heritage and by human experience, requires respect for their potency and mindfulness of the work required to provide responsible stewardship. To this end, the CS:CO Advisors have identified the following 10 items for consideration prior to beginning the work of connecting objects of cultural heritage with oral histories.
Top 10 Considerations for Collecting Stories: Connecting Objects
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- [+] DEFINE YOUR PROJECT :
Be transparent about what you are going to do. What is the objective? Are you doing an exhibition around portrait paintings, telephones, outdoor sculpture, home radios, or baseball bats? Are you exploring the theme of religion & spirituality in 19th century rural Caribbean life or compiling testimonials from the Nazi Era in Europe between 1933 and 1945? No matter the subject, method or approach to your project, it is important to define and communicate clearly its expectations, goals, and objectives with all contributors.
- [+] DETERMINE WHICH VIEWPOINTS AND HOW MANY ARE NECESSARY AND/OR ENOUGH :
Whose voices are being amplified by your project? Forming an advisory committee to help establish a comfort level in working with a specific community is a good idea. There are pros and cons to such committees, but they can help identify sources of stories and at the same time establish “a safe zone.”
- [+] REMEMBER SOURCES ARE NOT JUST REPRESENTATIVES OF A COMMUNITY :
If a museum does not want to rely on an advisory committee, one could simply start calling possible sources – long-time residents, community historians, activists, and artists. But once they are identified, it is important to remember their full “personhood.”
- [+] ESTABLISH COPYRIGHT AND OWNERSHIP OF THE FINAL PRODUCT :
This includes input during the process of creating the final product and using the final product in a variety of ways by both parties, easily, without a lot of legalistic language and processes. Invite story sources to see themselves as witnesses or narrators. Whether you bring someone into the museum or take an object out, allow contributors to determine the criteria for including their voice so the project is jointly developed.
- [+] ESTABLISH AUTHENTICITY AND ACCURACY OF THE RECOLLECTION(S) :
There are instances where an interviewee's responses to stories as told by others point out differences in recollections of specific events. Also, people may assert that some person or another was or was not actually involved. Depending on the function of the oral history being conducted, an attempt to resolve these types of conflicts may not be appropriate. Life stories can help correct mistakes and authenticate. When objects are mislabeled, it is community stories that can set the record straight.
- [+] KEEP THE NARRATION TO A LIMITED AMOUNT OF TIME :
This is largely the responsibility of an informed and skillful interviewer however, there are those narrators whose stories are so compelling or whose experiences are so vast that it is difficult to place a rigid time limit on the interview.
- [+] FIND THE RIGHT FACILITATOR vs. A LANGUAGE TRANSLATOR :
This is critical when interviewing a person who is more comfortable not speaking English. Spending time with the language translator to explain your purpose and motivation is important.
- [+] PLAN AND ALLOW FOR SUFFICIENT TIME WITH THE PERSON PRE-INTERVIEW :
Sometimes, when taping, one loses the synergy established in the first meeting. So allowing enough time the day of recording is important. Often, the lapse in time between initial conversations and actual recording of interviews is so great that the rapport between people diminishes. If you cannot develop and maintain a relationship before recording a life story, then be sure to allow enough time the day of recording to re-establish a comfort zone between parties.
- [+] COLLABORATE WITH INSTITUTIONS THAT ARE ALREADY POSITIONED WITHIN COMMUNITIES THE MUSEUM MIGHT WISH TO REACH :
This might include K-12 schools, religious institutions, community centers, locally owned or established businesses, university oral history departments and media outlets (television, radio, web-based entities).
- [+] USE THE RIGHT EQUIPMENT TO RECORD INTERVIEWS :
In developing the CS:CO website, the Museum Loan Network made the following recommendations to MLN Demonstration Grantees:
Produce digitized footage from interviews you've conducted that are suitable as a representative sample of the project you are undertaking. A 1 ½ to 3 minute clip would be adequate for this. It helps if the clip is commented or chapter marked either digitally or in electronic text form. Using QuickTime or Flash compression is likely to be more “browser friendly” if you are planning to make your materials accessible online via the web.
Representative photographic images of objects in Joint Photographic Exchange Group (“jpeg”) format with a resolution great enough to provide some flexibility in how your images are stored and made accessible.
