Abstract While the story of apartheid in South Africa is quite well known, the pre-apartheid “Union years” have been much less researched. All Rise: Resistance and Rebellion in South Africa (1910–1948) – A Graphic History brings six stories from that period to life. In this conversation with International Public History, Richard Conyngham reflects on the primary research that began in a dusty court archive, the creative process involved in writing and illustrating the six stories together with seven South African graphic artists, the enduring relevance of the stories, and the graphic history medium.
{"title":"Stories from a Dusty Basement: A Conversation with Richard Conyngham on All Rise: Resistance and Rebellion in South Africa (1910–1948) – A Graphic History","authors":"A. Etges","doi":"10.1515/iph-2023-2001","DOIUrl":"https://doi.org/10.1515/iph-2023-2001","url":null,"abstract":"Abstract While the story of apartheid in South Africa is quite well known, the pre-apartheid “Union years” have been much less researched. All Rise: Resistance and Rebellion in South Africa (1910–1948) – A Graphic History brings six stories from that period to life. In this conversation with International Public History, Richard Conyngham reflects on the primary research that began in a dusty court archive, the creative process involved in writing and illustrating the six stories together with seven South African graphic artists, the enduring relevance of the stories, and the graphic history medium.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"6 1","pages":"55 - 71"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46839923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1515/iph-2023-frontmatter1
{"title":"Frontmatter","authors":"","doi":"10.1515/iph-2023-frontmatter1","DOIUrl":"https://doi.org/10.1515/iph-2023-frontmatter1","url":null,"abstract":"","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136350201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article presents the changes in history education that bring school history closer to public history and discusses the potential of a textbook as a tool for fostering public history. The analysis of the chapters dealing with the Second World War from the Polish–German history textbook, Europe – Our History, provides arguments in support of the claim that history education may become history for the public – by engaging pupils, not just providing them with knowledge; with the public – by letting the pupils reflect on the lesson content, not take it for granted; about the public – by focusing on ordinary people’s fates, not on political and military operations; and by the public – by referring extensively to people’s memories and letting primary sources speak for themselves, not just illustrate the historiographical narrative.
{"title":"The Public History Turn in History Education Seen Through the Lens of the Polish–German History Textbook","authors":"J. Wojdon","doi":"10.1515/iph-2023-2006","DOIUrl":"https://doi.org/10.1515/iph-2023-2006","url":null,"abstract":"Abstract This article presents the changes in history education that bring school history closer to public history and discusses the potential of a textbook as a tool for fostering public history. The analysis of the chapters dealing with the Second World War from the Polish–German history textbook, Europe – Our History, provides arguments in support of the claim that history education may become history for the public – by engaging pupils, not just providing them with knowledge; with the public – by letting the pupils reflect on the lesson content, not take it for granted; about the public – by focusing on ordinary people’s fates, not on political and military operations; and by the public – by referring extensively to people’s memories and letting primary sources speak for themselves, not just illustrate the historiographical narrative.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"6 1","pages":"15 - 24"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44031404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In distinction from the overwhelming tendency to conceive history primarily in terms of its temporal chronologies, this paper considers the spatiality of history and historical memory. Engaging with seven Oral History interviews with diasporic Iranians in Toronto on the Iranian Revolution of 1979, we show that narratives of historical events are deeply shaped by the geographical location of narrators: those emplaced in differing geographical locations at the time of the Revolution not only remember disparate events, but also associate distinct temporal points with the Revolution. For instance, while those remembering the Revolution from the capital city of Tehran produce narratives that closely align with the official historiography of the Revolution (such as in recounting street protests and the culmination of the Revolution on February 11th, 1979), others remember events and dates that are only peripheral to official accounts (such as the arson at Cinema Rex on August 19th, 1978, or the hostage crisis that lasted from November 4th, 1979 to January 28th, 1980). In other words, both the content of memories (what narrators remember) and their temporal associations (which dates narrators recall) are informed by the embodied geography of memories. Hence, those whose geographical locations diverge from the largely capital-focused vantage point of official histographies produce narratives that diverge from these accounts. In short, geography and embodied emplacement are central to historical narrative, whether authoritative or narrated form geographical margins.
{"title":"Spatial Histories: Geography, Memory, and Alternative Narratives of the Iranian Revolution of 1979","authors":"Azar Masoumi, Ronak Ghorbani","doi":"10.1515/iph-2023-2003","DOIUrl":"https://doi.org/10.1515/iph-2023-2003","url":null,"abstract":"Abstract In distinction from the overwhelming tendency to conceive history primarily in terms of its temporal chronologies, this paper considers the spatiality of history and historical memory. Engaging with seven Oral History interviews with diasporic Iranians in Toronto on the Iranian Revolution of 1979, we show that narratives of historical events are deeply shaped by the geographical location of narrators: those emplaced in differing geographical locations at the time of the Revolution not only remember disparate events, but also associate distinct temporal points with the Revolution. For instance, while those remembering the Revolution from the capital city of Tehran produce narratives that closely align with the official historiography of the Revolution (such as in recounting street protests and the culmination of the Revolution on February 11th, 1979), others remember events and dates that are only peripheral to official accounts (such as the arson at Cinema Rex on August 19th, 1978, or the hostage crisis that lasted from November 4th, 1979 to January 28th, 1980). In other words, both the content of memories (what narrators remember) and their temporal associations (which dates narrators recall) are informed by the embodied geography of memories. Hence, those whose geographical locations diverge from the largely capital-focused vantage point of official histographies produce narratives that diverge from these accounts. In short, geography and embodied emplacement are central to historical narrative, whether authoritative or narrated form geographical margins.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"6 1","pages":"31 - 41"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49218351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Public debates about school history curricula meet the interests of public historians and educators in many different ways because they raise questions such as: “What history or whose history do we teach in schools?” “How can we make school history more public?” “How can the school history subject move toward a critical consumption and production of public representations of the historical past?” The withdrawal of the 2018–2019 history curricula in Greece and their replacement in 2021 with the updated history curricula of 2015, added another link in the long chain of educational reform and counter-reform in Greece, and demonstrated, once again, the close relationship between school history and public education policy. Moreover, in the Greek case, the revealing comparison between the withdrawn history curricula and those that replaced them brings to the fore the ways in which public history approaches can significantly contribute to the meaningful engagement of pupils in school history and, more generally, to an open, flexible, learning-centered, and inclusive education.
{"title":"Public Debates, Public History, and School History Curricula: The Greek Case","authors":"Panayotis Gatsotis","doi":"10.1515/iph-2023-2008","DOIUrl":"https://doi.org/10.1515/iph-2023-2008","url":null,"abstract":"Abstract Public debates about school history curricula meet the interests of public historians and educators in many different ways because they raise questions such as: “What history or whose history do we teach in schools?” “How can we make school history more public?” “How can the school history subject move toward a critical consumption and production of public representations of the historical past?” The withdrawal of the 2018–2019 history curricula in Greece and their replacement in 2021 with the updated history curricula of 2015, added another link in the long chain of educational reform and counter-reform in Greece, and demonstrated, once again, the close relationship between school history and public education policy. Moreover, in the Greek case, the revealing comparison between the withdrawn history curricula and those that replaced them brings to the fore the ways in which public history approaches can significantly contribute to the meaningful engagement of pupils in school history and, more generally, to an open, flexible, learning-centered, and inclusive education.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"6 1","pages":"3 - 14"},"PeriodicalIF":0.4,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47722111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract My research looks into the revitalization of Miao origin myths in the West Hunan minority ethnic autonomous prefecture in China. Based on two years of fieldwork and archival studies, I propose that West Hunan people’s active perception and interpretation of origin myths and folklore of the Miao people comprise and emphasize curational practices of restructuring historical narratives with a special focus on counter-narrativization. I argue that these efforts challenge lineal historical narration by providing counter-curational perspectives. Interpretations of myths and folklore over the issue of Miao identity reveal curations and counter-curations carried out by different institutions and individuals out of various political and social concerns. Overall, the recent revitalization of origin stories about the Heavenly Kings and the various presentations of Miao origin myths demonstrate the fluidity of minority ethnic identity, which combines the construction of linear history (military/political expansion and Sinicization, when non-Han societies came under the influences of Han culture, language, and ethnic identity) and the construction of mythic history (conveying principles and morality). My case studies illustrates counter-curational practices carried out by individuals and local cultural institutions, which lead to restructuring of historical narratives and counter-curational interpretations of minority ethnic cultures.
{"title":"‘Fluid’ Identity in Text-Building: A Study of the Revitalization of Origin Tales in West Hunan, China","authors":"Lijing Peng","doi":"10.1515/iph-2022-2045","DOIUrl":"https://doi.org/10.1515/iph-2022-2045","url":null,"abstract":"Abstract My research looks into the revitalization of Miao origin myths in the West Hunan minority ethnic autonomous prefecture in China. Based on two years of fieldwork and archival studies, I propose that West Hunan people’s active perception and interpretation of origin myths and folklore of the Miao people comprise and emphasize curational practices of restructuring historical narratives with a special focus on counter-narrativization. I argue that these efforts challenge lineal historical narration by providing counter-curational perspectives. Interpretations of myths and folklore over the issue of Miao identity reveal curations and counter-curations carried out by different institutions and individuals out of various political and social concerns. Overall, the recent revitalization of origin stories about the Heavenly Kings and the various presentations of Miao origin myths demonstrate the fluidity of minority ethnic identity, which combines the construction of linear history (military/political expansion and Sinicization, when non-Han societies came under the influences of Han culture, language, and ethnic identity) and the construction of mythic history (conveying principles and morality). My case studies illustrates counter-curational practices carried out by individuals and local cultural institutions, which lead to restructuring of historical narratives and counter-curational interpretations of minority ethnic cultures.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"5 1","pages":"115 - 126"},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42701571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrei Zavadski, V. Dubina, E. Isaev, A. Kolesnik, J. Lajus, Katerina Suverina
Abstract This discussion’s participants – all public historians working on Russia, albeit from different disciplinary backgrounds and with different areas of expertise – speak about the past and the present of (public) history in the country, and touch upon possible futures. Beginning with an acknowledgment of the immense interest in historical knowledge that characterized the 1990s, the conversation goes on to examine the rise of the official historical politics in Putin’s Russia and their impact on historical science, memory work, and public engagement with the past more broadly. These developments contextualize the establishment of the first public history programs at Russian universities in the early 2010s, discussed here both in their specificities and compared to other countries. At the heart of the conversation is the war of aggression that Russia launched against Ukraine in February 2022. The participants of the discussion see it as a caesura, while at the same highlighting continuities in the regime’s historical politics before and after the invasion. Issues of postcolonialism and decolonization are also raised, as well as the question of (public) historians’ responsibility for the ongoing tragedy.
{"title":"Public History in Russia: The Past, the Present, and (Thoughts About) the Future","authors":"Andrei Zavadski, V. Dubina, E. Isaev, A. Kolesnik, J. Lajus, Katerina Suverina","doi":"10.1515/iph-2022-2052","DOIUrl":"https://doi.org/10.1515/iph-2022-2052","url":null,"abstract":"Abstract This discussion’s participants – all public historians working on Russia, albeit from different disciplinary backgrounds and with different areas of expertise – speak about the past and the present of (public) history in the country, and touch upon possible futures. Beginning with an acknowledgment of the immense interest in historical knowledge that characterized the 1990s, the conversation goes on to examine the rise of the official historical politics in Putin’s Russia and their impact on historical science, memory work, and public engagement with the past more broadly. These developments contextualize the establishment of the first public history programs at Russian universities in the early 2010s, discussed here both in their specificities and compared to other countries. At the heart of the conversation is the war of aggression that Russia launched against Ukraine in February 2022. The participants of the discussion see it as a caesura, while at the same highlighting continuities in the regime’s historical politics before and after the invasion. Issues of postcolonialism and decolonization are also raised, as well as the question of (public) historians’ responsibility for the ongoing tragedy.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"5 1","pages":"143 - 156"},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41729973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Performing history has become immensely popular in China since the dawn of the twenty-first century. What is exactly the cultural impulse behind the massive craze for performing history in China? Premised on history being one of many modes of representation of the past, and performance being one of them, this article argues that performing history through reenactment, an expression of cultural memory mediated and remediated in the present, is a new form of public history in China. The democratic impulse enacted by such a performance can nurture serious discussions on historical issues, cultivate a shared interpretive authority, and shape historical consciousness of the ordinary Chinese.
{"title":"Performing History in China: Cultural Memory in the Present","authors":"Na Li","doi":"10.1515/iph-2022-2049","DOIUrl":"https://doi.org/10.1515/iph-2022-2049","url":null,"abstract":"Abstract Performing history has become immensely popular in China since the dawn of the twenty-first century. What is exactly the cultural impulse behind the massive craze for performing history in China? Premised on history being one of many modes of representation of the past, and performance being one of them, this article argues that performing history through reenactment, an expression of cultural memory mediated and remediated in the present, is a new form of public history in China. The democratic impulse enacted by such a performance can nurture serious discussions on historical issues, cultivate a shared interpretive authority, and shape historical consciousness of the ordinary Chinese.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"5 1","pages":"127 - 141"},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47386010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Dark academia is an ‘internet aesthetic,’ an aesthetic style used in posts on platforms such as TikTok, Instagram, and Tumblr that resonates the atmosphere of life in boarding schools, prep schools, and (Ivy League) colleges from the last decades of the nineteenth century up until the 1940s. It expresses a fascination with (neo-)gothic architecture; with tweed, lace, wool, and leather; with literature and art, and Romantic longing. Having been a main trend on social media platforms throughout the coronavirus pandemic, dark academia captures and facilitates cultural engagement in times of social isolation and closed college campuses. This article studies the dark academia aesthetic as a mnemonic curatorial practice with tendencies to counter hegemonic norms and narratives. Focusing on the affective dimensions of dark academia, this article argues that the aim of this internet aesthetic is to annul historical distance by capturing a mood and atmosphere associated with early twentieth-century campuses through the means of curated social media representations. This de-historicization allows for the renegotiation of values, like inscribing queerness – associated with secret queer romantics at gender-divided schools – into its representational language, without having to reassert historical gender binaries.
{"title":"Dark Academia: Curating Affective History in a COVID-Era Internet Aesthetic","authors":"Robbert-Jan Adriaansen","doi":"10.1515/iph-2022-2047","DOIUrl":"https://doi.org/10.1515/iph-2022-2047","url":null,"abstract":"Abstract Dark academia is an ‘internet aesthetic,’ an aesthetic style used in posts on platforms such as TikTok, Instagram, and Tumblr that resonates the atmosphere of life in boarding schools, prep schools, and (Ivy League) colleges from the last decades of the nineteenth century up until the 1940s. It expresses a fascination with (neo-)gothic architecture; with tweed, lace, wool, and leather; with literature and art, and Romantic longing. Having been a main trend on social media platforms throughout the coronavirus pandemic, dark academia captures and facilitates cultural engagement in times of social isolation and closed college campuses. This article studies the dark academia aesthetic as a mnemonic curatorial practice with tendencies to counter hegemonic norms and narratives. Focusing on the affective dimensions of dark academia, this article argues that the aim of this internet aesthetic is to annul historical distance by capturing a mood and atmosphere associated with early twentieth-century campuses through the means of curated social media representations. This de-historicization allows for the renegotiation of values, like inscribing queerness – associated with secret queer romantics at gender-divided schools – into its representational language, without having to reassert historical gender binaries.","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"5 1","pages":"105 - 114"},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46105854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The exhibition MapsUrbe: The invisible City (December 2018 – January 2019) staged the creations of young Mapuche artists and activists addressing the politics and history of the indigenous diaspora in Santiago (Chile). Engaging with urban space materiality and the trajectories shaped by displacement and endurance within the city, the exhibition explored subversive aesthetics and political imaginations, crafting alternative spatialities and temporalities. Building on two years of collaborative work with Mapuche artists and activists, and moving from an initial act of generative refusal, this paper explores a redefinition of curatorial practices within collective artistic projects that aim at opposing dominant historical narratives. By reflecting on an experience of collective co-curation, it shows how these practices challenge established and institutionalized narratives embedded in public spaces, resulting in creative appropriations and powerful counter-narratives ‘on our own terms.’
{"title":"‘On Our Own Terms’: Refusal, Masks, and Indigenous Counter-narratives in Santiago de Chile Public Space","authors":"Olivia Casagrande","doi":"10.1515/iph-2022-2050","DOIUrl":"https://doi.org/10.1515/iph-2022-2050","url":null,"abstract":"Abstract The exhibition MapsUrbe: The invisible City (December 2018 – January 2019) staged the creations of young Mapuche artists and activists addressing the politics and history of the indigenous diaspora in Santiago (Chile). Engaging with urban space materiality and the trajectories shaped by displacement and endurance within the city, the exhibition explored subversive aesthetics and political imaginations, crafting alternative spatialities and temporalities. Building on two years of collaborative work with Mapuche artists and activists, and moving from an initial act of generative refusal, this paper explores a redefinition of curatorial practices within collective artistic projects that aim at opposing dominant historical narratives. By reflecting on an experience of collective co-curation, it shows how these practices challenge established and institutionalized narratives embedded in public spaces, resulting in creative appropriations and powerful counter-narratives ‘on our own terms.’","PeriodicalId":52352,"journal":{"name":"International Public History","volume":"5 1","pages":"93 - 104"},"PeriodicalIF":0.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44648567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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