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    Museum Archipelago

    A tiny show guiding you through the rocky landscape of museums. Museum Archipelago believes that no museum is an island and that museums are not neutral. Taking a broad definition of museums, host Ian Elsner brings you to different museum spaces around the world, dives deep into institutional problems, and introduces you to the people working to fix them. Each episode is rarely longer than 15 minutes, so let’s get started.

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    Latest Episodes:
    93. Bulgaria’s Narrow Gauge Railway Winds Through History. Ivan Pulevski Helped Turn One of Its Station Stops Into a Museum. Jun 07, 2021
    Show notes

    In 1916, concerned that the remote Rhodope mountains would be hard to defend against foreign invaders, a young Bulgarian Kingdom decided to build a narrow gauge railway to connect villages and towns to the rest of the country. The Bulgarian King himself, Tsar Boris III, drove the first locomotive to the town of Belitsa to celebrate its opening. But the Septemvri - Dobrinishte Narrow Gauge Railway would far outlast the King and the Kingdom, the communist era that followed, and the rocky post-communst period.

    Today, the railway is still a fixture of life in the region as a vital link to remote villages with no road access. But decades of neglect have left many stations crumbling. Train enthusiast Ivan Pulevski, a member of the organization “For The Narrow Gauge Railway,” helped found the House-Museum of the Narrow Gauge Railway in one of these abandoned stations. A sign on the building says the museum was built “for people, by people.”

    In this episode, Pulevski describes the decision to build the museum using only volunteers, how to interpret multiple eras of Bulgarian history through the lens of a railway, and why they have had no plans to seek official museum accreditation in Bulgaria.

    Topics and Notes

    • 00:00 Intro
    • 00:15 Winding Through History
    • 00:50 Septemvri–Dobrinishte narrow-gauge line
    • 01:10 Ivan Pulevski
    • 01:33 Stoyan Mitov and the Engineering of the Railway
    • 03:20 Tsar Boris III
    • 03:50 The House-Museum of the Narrow Gauge Railway
    • 04:40 No Electricity and No Water Supply
    • 05:30 After The Collapse of the Communist Era
    • 05:55 Organization "For The Narrow Gauge Railway"
    • 06:32 Restoring the Building / Making the Museum
    • 08:30 Bulgarian Museum Regulations
    • 10:10 Outro | Join Club Archipelago 🏖

    Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode.

    Unlock Club Archipelago 🏖️

    If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly.

    Join the Club for just $2/month.

    Your Club Archipelago membership includes:
    • Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show;
    • Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums;
    • Logo stickers, pins and other extras, mailed straight to your door;
    • A warm feeling knowing you’re supporting the podcast.

    Transcript

    Below is a transcript of Museum Archipelago episode 93. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript

    Welcome to Museum Archipelago. I'm Ian Elsner. Museum Archipelago guides you through the rocky landscape of museums. Each episode is never longer than 15 minutes, so let's get started.

    The waiting room of Tsepina Station, south of the Bulgarian city of Septemvri in the Rhodope mountains, sits under the watchful eye of portraits of Vladimir Lenin and Georgi Dimitrov -- the revolutionary communitst leaders of Russia and Bulgaria respectively. But the communist period is only one of the eras of Bulgarian history the narrow gauge railway winds its way through.

    Construction on the railway, and the station, began in 1920, when a young Bulgarian Kingdom was concerned that the remote Rhodope mountains would be hard to defend against foreign invaders. Today, the railway is still a fixture of life in the region. Each day, 10 times a day, a diesel train passes by the station.

    Ivan Pulevski: Many people rely on this railway because it's their only transport, their only way of transport, because there are many villages which has no road.

    This is Ivan Pulevski, a train enthusiast who is also one of the founders of the House-Museum of the Narrow Gauge Railway, which sits inside Tsepina station.

    Ivan Pulevski: Okay, my name is Ivan, Ivan Pulevski and I'm from Plovdiv. I'm currently a student in the Technical University of Sofia and I study transport technology and management.

    Creating the railway through such mountainous terrain was a transport technology and management problem for 1920. The first two engineers who were invited by the government to plan the railway quit because of the technical difficulty of building it. Instead, the honor fell to a young engineer called Stoyan Mitov.

    Mitov’s innovation was to build the railway in such a way that if you looked at it from above, the track would form numbers -- eights and sixes as the tracks pass over and under themselves to change elevation in such a tight space, The design also called for numerous tunnels.

    Ivan Pulevski: This is actually a map of how it crosses. And it looks like eight. And these are two forms, which are more like six. So it was really, really complicated project: so all these tunnels. The railway actually has 35 tunnels.

    In order to do that, the rail needed to be narrow gauge, which could handle the tight turning radiuses. The gauge refers to the distance between the two tracks of the railway: in this case, 760 mm. Every other working railway in Bulgaria today is standard gauge, with a distance between the tracks almost double that at 1,435 mm.

    The painstaking construction continued for over two decades. Slowly, more and more villages and towns were connected to the rest of Bulgaria.

    Ivan Pulevski: It was pretty primitive actually, because they didn't have multiple techniques and all the works were done by hand.

    Finally, in 1939, the railway reached the Bulgarian town of Belitsa. To celebrate a more interconnected Bulgaria, none other than the Bulgarian King, Tsar Boris III drove the first locomotive to the city.

    Ivan Pulevski: He was the only monarch in Europe who had a legal driving license for a train, for a steam engine. And the elderly people who still remember this moment say that they saw two miracles of their time: the train and the king.

    The majority of the House Museum of the Narrow Gauge Railway concerns the daily functioning of the station after Tsar Boris III, and the beginning of the communist era in 1944. By 1945, the railway was complete in its current form, stretching from Septemvri to Dobrinishte.

    Ivan Pulevski: It was actually probably the period in the timeline that the railway was at its peak. And in 1966 it had 71 trains per day.

    The station’s waiting room is preserved with pictures and information about the different types of carriages and locomotives from the era. There’s a ticket counter window looking into the main control office of this station -- all using technology that was not regularly updated.

    Ivan Pulevski: This station had no electricity and no water supply. So they used lanterns with gasoline and these phones, which are only connected to the Telegraph wire. And we still have no electricity.

    As a result, the artifacts in the control office have an old-school charm -- you can see the hand-written diary of each train that came through, you can handle the heavy metal keys for the track switches, and you can even “validate” your ticket with the official heavy-duty ticket validation machine.

    The station manager lived at the station, in rooms right above the control office and waiting room. Managers would get buckets of food and water delivered by train.

    After the communist era collapsed in 1989, things got worse for the narrow gauge railway, and with no station manager, this station building fell into disrepair.

    Ivan Pulevski: After the collapse of the communist era, many factories closed and actually the railway was not really maintained and the total abdication of the government made things so complicated that in 2003, all the freight trains were cut.

    Pulevski’s organization, called “For the Narrow Gauge Railway” fought against cutting passenger services too.

    Ivan Pulevski: Seven years ago they decided to cut some of the passenger friends as well. These people had no option to go home from work. Well, they have the train to go to work, but they did not have a train to go back. So fortunately, because a friend of mine who is actually part of our organization, decided to take some actions and the Bulgarian state-wide ways decided to put on track these trains as soon as possible.

    As part of the cuts, stations like the one we’re standing at got removed from the schedules. In 2015, the organization “For The Narrow Gauge Railway” decided to do something with the abandoned building.

    Ivan Pulevski: At first we decided not to make it a museum, but to just -- it was in really bad condition, so, decided to just fix some things. And then we had to think of a purpose. Why? Why we do this and decided to make it a museum, because it was the best solution. We don't have a museum for this railway.

    The museum was created by Pulevski and other volunteers over the course of two years. The Bulgarian National Railway company repaired the station’s roof, and people donated money, time, and artifacts to be displayed in the museum.

    Ivan Pulevski: In 2017, we opened the museum. It was a big opening actually. We had more than 100 guests at the time and it was really interesting, but unfortunately it's in the middle of nowhere, as you can see, and the maintenance -- it's hard.

    The reasons for the maintenance issue are the same as the reasons for the railway in the first place.

    Ivan Pulevski: We had a person, a retired person who used to come here to open the museum on the weekends, but he had some medical issues, so he does not come anymore. And since we are a voluntary organization, we did not have the funds for a salary of a person who will be here all the time. And also, there is no water supply or electricity, it is not the best place to work.

    Today, a tour of the museum is available by appointment. The organization has acquired some display cases they hope to soon fill with more artifacts, and plans are in place to build a scale model of the station and surrounding railway.

    But Pulevski is less interested in getting the museum officially accredited as a museum -- because that would come with all sorts of Bulgaria n museum regulations.

    Ivan Pulevski: I shouldn't be saying this actually, but we are not a legal museum because in Bulgaria we have a procedure to be a museum. It's pretty complicated to be a museum in Bulgaria. The regulations sometimes are kind of left from years of socialism and actually they have even regulations for an expert to come to your museum and decide which object should be exposed. We wanted to make a museum for the narrow gauge railway. Why would a person who's an expert, but well, we can argue about that here and say, “okay, this and this and this.”

    The best museum’s I visited are just like small museums made from the ground. Because of somebody who is really passionate about the topic or the museum.

    Pulevski and the other volunteers hope that the museum, which is now adjacent to a road, becomes a place for motorists to stop, learn about the railway, and hopefully consider taking the train for their next journey.

    Ivan Pulevski: The railway itself is that it is not only an attraction because the people still use this training. And it is part of the experience of seeing these people using the train every day, sharing their emotions, their worries, et cetera.

    This has been Museum Archipelago.

    You love Museum Archipelago. But maybe you don’t love that each show is only 15 minute. Now, there’s a way to support the show while getting more.

    By joining Club Archipelago, you get access to hour-long episodes where I dive deep into pop culture about museums — movies like 2006’s Night at the Museum, 1966’s How To Steal A Million, and 2001’s Atlantis: The Lost Empire — with friends and fellow museum folks. It’s a lot of fun!

    If you want to kick back and listen to a whole lot more about how pop culture reflects museums back to us, join Club Archipelago today for $2 a month at jointhemuseum.club. Thanks for listening.

    For a full transcript of this episode, as well as show notes and links. Visit museumarchipelago.com. Thanks for listening. And next time, bring a friend.


    92. The Pleven Panorama Museum Transports Visitors Through Time, But Not Space May 03, 2021
    Show notes

    The Pleven Panorama transports visitors through time, but not space. The huge, hand-painted panorama features the decisive battles of the Russian-Turkish War of 1877–78, fought at this exact spot, which led to Bulgaria’s Liberation. The landscape of Pleven, Bulgaria depicted is exactly what you see outside the building, making it seem like you’re witnessing the battle on an observation point. Bogomil Stoev is a historian at the Pleven Panorama, which opened in 1977. The opening was timed to celebrate the 100th anniversary of the Ottoman Empire’s surrender following the battles and the siege of Pleven. The building itself is etched with the story of the siege and the battles, and because the landscape is filled with the remains of the combattants, this was the only structure allowed to be built on the spot. In this episode, Stoev describes how the creators of the Pleven Panorama learned from previous panoramas, how the museum contextualizes the history of Bulgaria’s Liberation, and how this museum has become a symbol of the city of Pleven. Topics and Notes 00:00 Intro 00:15 Skobelev Park and the Remains of the Dead 01:06 Bogomil Stoev, Historian at the Pleven Panorama 01:36 Our Story Begins in the 14th Century 01:58 April Uprising 02:40 The Start of the Russian-Turkish War of 1877–78 03:10 The Pleven Panorama 05:16 General Skobelev 06:00 General Totleben 06:10 The Siege of Pleven 07:00 December 10th, 1977 07:40 Episodes 47 and 54 of Museum Archipelago 08:07 Building the Museum 08:46 A Brief History of Panoramas 10:15 Pleven’s Enduring Symbol 11:20 Outro | Join Club Archipelago 🏖 Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode. Unlock Club Archipelago 🏖️ If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly. Join the Club for just $2/month. Your Club Archipelago membership includes: Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show; Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums; Logo stickers, pins and other extras, mailed straight to your door; A warm feeling knowing you’re supporting the podcast. Transcript Below is a transcript of Museum Archipelago episode 92. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript Skobelev Park just South of the Bulgarian city of Pleven looks like a typical Bulgarian park. A pleasant place to sit on a bench, walk around with friends, and enjoy the day. Which it is. But to the people of Pleven, the area has another name. It's known as the Valley of Death, the site of the decisive battle of the Russo-Turkish War of 1877-78, which ultimately led to Bulgaria's liberation from the Ottoman Empire after 500 years. Bogomil Stoev: Around 70, 80 thousand people, they died here and their remainings, they are here. They were not buried in the cemetery. They were using the trenches and they would put the bodies and just put mud on them. So here we cannot dig. You cannot do anything, any kind constructions and this is why when they built the museum in 1977, we are the only structure here. This is Bogomil Stoev, a historian at the Pleven Panorama museum — the only structure in Skobelev Park. Bogomil Stoev: Hello, my name is Bogomil Stoev. I'm a historian and I work in the museum Panorama Pleven and this is actually my job to work with visitors, to show the fights and the history of our city, city of Pleven. This was the main place of the fights that actually liberated Bulgaria and Bulgaria exists at this day because of this war and this fight. Story of this war and this fight actually begins in the late 14th century when the Ottoman Empire conquered the land controlled by the Second Bulgarian Empire, leading to the long period of Ottoman rule. Bogomil Stoev: [For] 500 years we didn't exist like a country. We were not existing as a country, only as a nation. And after this war, Bulgaria was again on the map of Europe after 500 years. By the 19th century, Bulgarian nationalism started to take hold, culminating in the April Uprising in 1876. Bulgrians rebelled in towns and cities across the territory against the Ottomans. The Ottoman Empire's response to the insurrection — a violent suppression by massacring civilians — led to an outpouring of public support for the Bulgarian cause. Bogomil Stoev: Koprivshtitsa and Panagyurishte, those are the main places for the uprising. This is actually the punishment for the Bulgarian people because they made the uprising. 30,000 innocent people were killed this was a big news around the world. The coverage of the Ottoman's suppression was one of the factors that led the Russian Empire to declare war on the Ottoman Empire. Bogomil Stoev: And one year after the rebellion on 24th of April in 1877, Alexander II, the Russian emperor, he declared the war. And this is the beginning of maybe [the] 10th, 12th war between the Russian and Ottoman Empire, but in our history, in Bulgarian history, it stayed as a war for liberation. All of this context is briefly presented in the first gallery of the Pleven Panorama — as visitors walk up the stairs to the main attraction: the Panorama itself. Bogomil Stoev: And this is the main part of the museum actually. Wow. Bogomil Stoev: So this part of the museum, it's actually the unique part. The name of the museum is because of this part here: Panorama. The name starts in Greek. It means, looking around yourself and the idea is that when you go in a museum like this, you can see actually the real place. The Panorama is huge: one unbroken cylinder of painted canvas wrapping all the way around the room. Bogomil Stoev: It was hand- made. This is on canvas. It's one big piece. It's 115 meters long and it's 15 meters high. 15 meters here in Bulgaria are like four floors of a building. 13 painters did everything here in four months. Everything in the room — the lights, the atmosphere creates the illusion that you're standing at this location in the afternoon of September 11th, 1877. It's as if the canvas is a window — the mountains in the distance, the rolling hills in the foreground are all exactly what you would see if there were actual windows in the building. Bogomil Stoev: And the idea of this part here, or the museum is actually to show you the fight for the place that you're sitting right now. We will go on the roof of the museum: this is the view. This is not a place somewhere around the city. This is exactly the place we are right now. The focus on the exact location mirrors Pleven's geographic destiny — this was the only place for Russian troops and their Romainain allies to enter the territory because their access to the Black Sea was blocked due to the Crimean War. The trade routes and the paths over the mountains were such that whoever controlled Pleven could control access to southern Bulgaria and Istanbul. So this is where the Ottoman Empire tried to stall the invaders' progress. And it almost worked. September 11th, 1877 was the third attack on the Ottoman defensive positions. On the canvas, Russian troops — under the command of General Skobelev— stream towards you in two main divisions, with guns and bayonets. A third division of Romaian troops capture a nearby position. Bogomil Stoev: The whole park here is by the name of the person that you can see over there on the white horse. So this is General Skobelev, he was in charge of the soldiers here. And from here he wanted help to go and liberate the city. We, the museum visitors, are put in the position of the defenders, the Ottoman soldiers, surrendered by two battlefields. Bogomil Stoev: The only successful fight at this day is the fight here for the place of the museum. And this is why we are here. So 13,000 soldiers came from the green hills that you can see over there that were crossing the Valley. They separated on two and they attacked at the same time. Looking north, you can see the city of Pleven as it would have looked in 1877, one of the largest cities in Bulgaria at the time. The battle resulted in so many casualties that the attackers switched tactics, and brought in General Totleben. Totleben decided to conduct a siege of the city of Pleven, still under Ottoman control. Bogomil Stoev: The idea of Totleben was very different. So he didn't rely on soldiers to fight for the place. As you can see here. His idea is actually to use the place. You can see that the city is in the Valley. It's very easy to surround the place so that nothing goes in and nothing goes out. For 45 days, no food, no water, the water mills that were in the city, they were not working. The soldiers, they started to die from hunger, from diseases. Actually the people of Pleven started to actually die from hunger and diseases. They are telling that the city was like tomb. The siege was successful in forcing the Ottoman soldiers to break out of the city: after another battle, the Ottomans surrendered on December 10, 1877. Bulgaria was finally back on the map of Europe. The Pleven Panorama museum opened exactly 100 years later, on December 10th, 1977. 100 years is a long time, and Bulgaria looked very different. In 1977 Bulgaria was a satellite state of the USSR, operating under a communist regime. I asked Stoev if the political environment — and the story of Russian armies contributing to Bulgarian liberation — was one of the reasons for creating the panorama. Bogomil Stoev: Our museum was made from volunteers and from donations and it's not part of any political things, we were just representing the fights that actually liberated Bulgaria. And so that's different than something like Buzludzha? Bogomil Stoev: Yeah, yeah that's made from, for the government and from the government and it was something different as an idea. Buzludzha — the concrete flying saucer monument that we covered on episodes 47 and 54 of Museum Archipelago — comes to mind because it was built only a few years later in 1981, and it has a similar feel: an imposing, disk-shaped structure of pressed concrete with a vertical column or two. But the comparison ends there. While Buzludzha was constructed to make the communist party look futuristic, the architecture of the Pleven Panorama itself is etched with the story of the siege and the battles of the past. Bogomil Stoev: This building was built to be the museum. It was not something that already existed and they used. This vision of the building here is something that was part of the history of the city. How? You saw the spikes, they represent the two battlefields. You can see the structure that is on the rings.The first three rings that are the upper part of the museum. Every ring represents one attempt to liberate the city. And then the siege is the big ring that's down in the museum. So this is the idea. When you see the museum to see the three attempts, then the siege and the two battlefields. The shape of the building supports the massive panorama inside. 1977 was long after the peak in popularity of European panorama painting or cycloramas, as they tend to be called in North America. They were a way to create an immersive environment by hand — an early example of virtual reality. The landscapes and the battles they portrayed — almost always in custom built-buildings — presented spectacle without words, and like modern immersive experiences, each little detail helped complete the illusion. The Pleven Panorama learned from the panoramas before it. The studio that built it had experience with other panoramas. They knew the color temperature the lights had to use to make it feel like sunshine. They knew how sensitive the canvas is to heat and humidity, so they built the museum so that only 30 people would be in the room at any one time, for a maximum of 10 minutes — but with two staircases leading to other galleries, the visitor flow could be continuous. The surface in front of the panorama canvas, but beyond the viewing platform, is littered with artifacts — cannons, makeshift camps, broken wagon wheels. It's all positioned to create the illusion that the scene continues into the painted canvas. Bogomil Stoev: Everything that you can see, the uniforms, all the weapons. They are actually real, they were not made, they're found here and they're real. And they were used in the war. Of the approximately 100 panoramas in the world, the Pleven Panorama is one of only 19 extent examples in the classical style. Bogomil Stoev: This is the old way how you make a museum like this, you make a painting, that's handmade. It's on canvas. It's with oil painting. And it was made here on the place of the museum. The modern panoramas they can be prints or even they can be all digital, where you have even sound, you'll have some kind of lightning, even a smell. It can be full experience for the visitor. So this is not a modern type of museum. It's as if lot of things came together perfectly to create this panorama — the innovation was doing the older-style panorama correctly, with enough resources, and with the technology to protect the canvas. In a city teaming with nearly 200 monuments to the events of 1877, the Pleven Panorama has become the most enduring symbol of the city and the decisive battle. Bogomil Stoev: And every place is a symbol for something, every city in Bulgaria. But when you tell someone Pleven, they think about this, they think about the war, liberation of Bulgaria and the Panorama.

    Full show notes at the publisher

    91. How Fake Museums Are Used in Theme Parks with Shaelyn Amaio Apr 19, 2021
    Show notes

    Museums can be a shorthand for truth, or for history, or for what a culture values. Disney theme parks all around the world use fake museums as a tool to immerse visitors in the themed environment. This detailed world-building can make the imaginary universe more real—or provide a setup to subvert a narrative. But these fake museums aren’t the only ways the Disney theme parks present history to visitors. Public experience advocate Shaelyn Amaio describes how the parks “traffic in the past.” By removing references to the present or a future with consequences, parks like Disneyland free the visitor from responsibility for what happened in history. Since the opening of Disneyland in 1955, there have been several iterations of Disney theme parks, each reflecting the way we think about knowledge and history in the times they were built. In this episode, Amaio describes examples of fake museums in Disney theme parks, details how corporate-sponsored edutainment can reflect the public's anxiety, and explains why EPCOT has the most museum-like spaces at Disney theme parks. Topics and Notes 00:00 Intro 00:15 The Yeti Museum 01:30 Shaelyn Amaio 02:03 Amaio’s First Visit to Disney World 03:30 Yesterday, Tomorrow and Fantasy: History and Innocence in the Magic Kingdom 05:50 EPCOT and World’s Fairs 08:01 17. Entertainment and History at Disney’s America 09:12 Dinosaur at Disney’s Animal Kingdom 10:20 Layering in Theme Park Design 11:00 Overlap Between Museums and Theme Parks 11:55 Outro | Join Club Archipelago 🏖️ Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode. Unlock Club Archipelago 🏖️ If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly. Join the Club for just $2/month. Your Club Archipelago membership includes: Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show; Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums; Logo stickers, pins and other extras, mailed straight to your door; A warm feeling knowing you’re supporting the podcast. Transcript Below is a transcript of Museum Archipelago episode 91. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript There's a museum just outside Orlando, Florida at Disney's Animal Kingdom theme park. It's called the Yeti Museum, and it's dedicated to the scientific, historic and cultural studies of the legendary humanoid primate said to inhabit the Himalayan Mountains. The curator of the museum is convinced that the Yeti is real and dangerous. Shaelyn Amaio: It includes local, indigenous cultures and references to their beliefs about the Yeti. And it's all of this evidence, quote unquote--I'm doing air quotes, but you can't see it--that the Yeti is real and it's something that you should be scared of. The museum is actually the queue to a roller coaster called Expedition Everest, which is themed to look like a train taking visitors on a journey through the Himalayas. At points in the ride, visitors encounter an audio-animatronic Yeti. Shaelyn Amaio: So by the time you get on the train, you're primed. You know you're going to see the Yeti, even if you haven't been on the ride before. And so then when you encounter it, it does make it a little bit more real because you've already seen all of this evidence of the existence of Yetis. And so you're not just like, Oh, this is just a robot covered in fake fur with a strobe light on it. And it kind of like switches that on in your brain. For public experience advocate Shaelyn Amaio, this is a great example of how museums--and museum iconography--are used as shorthand for reliability, truth, and prestige in theme parks. Shaelyn Amaio: Hi, my name is Shaelyn Amaio and I am somebody who works in museums, mostly in history museums, but I like to think of myself as a public experience advocate. So my interests lie both in museums and in other leisure activities. Amaio grew up in Connecticut, and first visited Walt Disney World in Florida as a five-year-old. Shaelyn Amaio: I just remember the feeling of being on Main Street U.S.A. in the Magic Kingdom and being completely overwhelmed. Right? Because when you're five, you don't know the history, you don't know what it's referencing, but you still know that it's like this nostalgic feeling, even if you don't have the words or the experiences. To, to relate that. And I think at that age, a lot of what you're feeding off of are the reactions of the adults around you. When people talk about going to Disney, they tend to center children and, like, what the kids will think of it. But I think something that's left out of that conversation is how adults react to the theme parks and why the kid's experience is kind of a mirror of adult experience in theme parks. Back in Connecticut, Amaio also spent her childhood visiting museums. Shaelyn Amaio: I was really lucky to get exposed to museums from an early age. And then as I got older, I will admit that I did not see a career in museums for myself. And then I went to undergrad and I was studying anthropology and I got to the end of my undergrad and was like, oh no, I don't actually want to be out in the field all the time. What am I going to do? Shaelyn Amaio: And so I ended up in a museum education program. And when I went on to get my MA I actually wrote my thesis on the presentation of history in Disney theme parks. So it all, it all came together. The 2011 thesis, which was titled “Yesterday, Tomorrow and Fantasy: History and Innocence in the Magic Kingdom”, dives into how the so-called Castle parks at Disney resorts around the world, like Disneyland in Anaheim, California, Disneyland Paris in Paris, France and the Magic Kingdom in Orlando, Florida--which all feature an iconic castle in their center and differened themed lands surrounding it like Adventureland and Frontierland--remove the present from the visitors’ experiences. Shaelyn Amaio: So the Disney theme parks actually like traffic in the past, that is their main currency you have in the Magic Kingdom most of the areas of the park are themed to different historic moments, right? The one main exception being Tomorrowland, which is kind of set in this retro-futuristic never. And so when you look back and say, okay, I as a visitor am now the main character, the important thing to understand is that they remove the present. Shaelyn Amaio: And so if you are only looking at the past and this future that will never be then the past doesn't have any impact, right? There's no responsibility for what happened in the past. And so as a visitor, I can just kind of be like, wow, the past was bad, but look, we've made so much progress. Things are getting better every day and not really have to grapple with all of the history and, and its continuing legacies today. I think another important thing is that it's intended to feel neutral to mostly to white Americans, which I think we can't talk about Disney parks without talking about that. Each of these images of the past, weathered rocks etched in the landscape of Frontierland or the oil-lantern illuminated shops of Main Street, U.S.A, help us relate to history. One of the main principles of experience design is that even the smallest out-of-place detail ruins the illusion. Castle parks that follow this same formula continue to open into the 21st century in Hong Kong and Shanghai. But even by the 1980s, Disney had developed a different model of park in the form of EPCOT. EPCOT was a theme park which sought to create a permanent World’s Fair. Disney had experience with the 1964/1965 World's Fair in New York, where no fewer than four corporate sponsors hired the company to develop attractions for them. Shaelyn Amaio: It is really interesting to think about how these different parks and the periods in which they were built reflect the way that we think about knowledge in these different times. If you look at EPCOT, which opened in 1982. Here you have a different relationship to history and a different relationship to progress for Americans. So you're coming off of the 1970s, which were really tumultuous, right? You have an entire pavilion in EPCOT that is the Universe of Energy Pavilion, which was sponsored by Exxon Mobil. And we had just come off of the gas crisis. Americans were not really feeling secure in the future of fossil fuels. And so you have this entire ride that talks about how great everything is, how technology is advancing, how we're going to solve all of the problems of humanity. Universe of Energy Narration: In our ever-changing world, the road to tomorrow’s energy is indeed long, complex, and challenging. It demands the development and wise use of today’s energy resources. It calls for practical and affordable new sources for tomorrow. But at this point they have to kind of also be like, we know sometimes things are bad. Like they have to acknowledge the reality of the situation, but at the end of the day, they're still like, yeah, but don't worry. Corporations are doing great. We're going to figure it out together. We'll get there, which is this just a really interesting contrast to what's happening in the Magic Kingdom, where it's just like, we've removed all of the bad things. Don't worry. We're all doing great! EPCOT represents the closest experience to going into a museum in a Disney theme park, precisely because of its World’s Fair legacy. Shaelyn Amaio: You also have things like a pavilion devoted to imagination that was sponsored by Kodak. So thinking about the power of creativity and imagination, you have a pavilion about the ocean and about things that live in the ocean and ocean technology. So all of these attractions are basically set up so that you are learning something, it feels like a very didactic experience, right? Shaelyn Amaio: Like probably the most traditional quote unquote museum-y, edutainment-y experience in the parks. By the early 1990s, Disney was on track to develop yet another type of park--a theme park that presented actual history in an edutainment context called Disney's America. In episode 17 of Museum Archipelago, we cover its spectacular failure. Disney’s idea would have put a park showcasing [quote] “the sweep of American History”--including the institution of Slavery and the Civil War--within a fun theme park environment just outside Washington, DC. The idea met so much public resistance that it was scrapped and there’s no plans for this type of park in the future. In recent years, in the current park types, there’s been a mixing of mediums happening: the introduction of fake museums in the Disney parks, like the Yeti Museum. The mixing says more about the medium of museums than the medium of theme parks. Shaelyn Amaio: There's so much that you have to do in order to help people take that leap, to kind of letting themselves be immersed in an experience. And the fact that theme parks very often turned to museums as a tool in that journey is really fascinating to me. Another example is also at Disney’s Animal Kingdom Park: it’s a ride called Dinosaur, which begins with a museum space filled with fossils and printed graphics, setting up the subversion that happens in the ride itself -- and is actually meant to be dull. Pre-Show of Dinosaur: Hello! I’m Dr. Marsh, Director of the Dino Institute, and I hope you enjoy those quaint exhibits in the old wing. That's how dinosaurs happened was into to the public since the study of fossils began over 150 years ago. Shaelyn Amaio: You have the Institute quote unquote, where the Dinosaur attraction takes place, which has the actual fake museum inside of it. And I think all of that is meant to set up this idea. That this is somehow legitimate in a way that it wouldn't be understood otherwise. And so I think just the use of not only museum environments, but also just the science world in general is really interesting. it really just tells you as a visitor, like I am meant to understand this as real. I am meant to understand that we are actually going back in time, and it’s not just strobe lights. The museum, and everything it represents, can be a tool in the world building of a themed environment. Theme park designers talk about layers of meaning, all on top of one another to create a successful theme. A fake town seems less fake if there’s a fake historical maker describing the founding of the town. It’s even less fake if within the fake town there’s some disagreement about the accuracy of the marker -- feuding families, each trying to tell their own stories. As visitors, this level of detail doesn’t distract -- quite the opposite. For anyone who works in or thinks about museums, it’s worth figuring out what museums are shorthand for in themed environments. Shaelyn Amaio: Walt Disney himself had this quote that was like, “I'd rather entertain people and hope they learn something, then educate them and hope that they are entertained.” Shaelyn Amaio: I don't think that the way that theme parks use museums is meant to be educational the way that museums want to be educational. I think it's a little bit of a distortion of theme parks, even the ones that are more traditional in terms of how they're displaying things in the topics they're covering. But there is a lot of overlap when you're looking at how humans act, and so that's where we really have this opportunity to learn from each other to improve experiences in both spaces so that visitors do learn some things. So that visitors do have fun. I think we have to kind of embrace some things that theme parks are doing well so that we can better serve our visitors and continue to fulfill our missions. This has been Museum Archipelago.

    Full show notes at the publisher

    90. Civil Rights Progress Isn't Linear. The Grove Museum Interprets Tallahassee's Struggle in an Unexpected Setting. Mar 15, 2021
    Show notes

    The Grove Museum inside the historic Call/Collins House is one of Tallahassee’s newest museums, and it’s changing how the city interprets its own history. Instead of focusing on the mansion house’s famous owners, including Florida Governor LeRoy Collins, Executive Director John Grandage oriented the museum around civil rights. Cleverly tracing how Collins’s thinking on race relations evolved, the museum uses the house and the land it sits on to tell the story of the forced removal of indigenous people from the area, the enslaved craftspeople who built the house, and the Tallahassee Bus Boycott. Grandage says the museum’s interpretive plan and focus on civil rights wouldn't have been possible without the work of Black Tallahassee institutions like John G. Riley House Museum created by Althemese Barnes or the Southeastern Regional Black Archives built from FAMU Professor James Eaton’s collection. In this episode recorded at the museum, Grandage describes how historic preservation has always been about what the dominant culture finds worth persevering, the museum’s genealogical role, and the white backlash to Collins’s moderate positions on civil rights. Topics and Notes 00:00 Intro 00:15 Ian at the 1992 Springtime Tallahassee Parade 00:55 White Supremacy in Tallahassee 01:20 Smokey Hollow 01:40 John Grandage 02:35 The Grove Museum 03:05 Developing the Interpretive Plan with a Focus on Slavery and Civil Rights 03:30 Governorship of LeRoy Collins 04:36 Tallahassee Bus Boycott 06:08 Presenting the Narrative through Collins 06:50 White Backlash to Collins’s Moderate Position on Civil Rights 08:15 The Construction of the House by Enslaved Craftspeople 09:45 The Genealogical Role of the Museum 10:50 Forced Removal of Indigenous People in Tallahassee 12:25 How Tallahassee Interprets Its History 13:00 The John G. Riley House 13:10 The Meek-Eaton Black Archives 14:08 Outro | Join Club Archipelago 🏖️ Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode. Unlock Club Archipelago 🏖️ If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly. Join the Club for just $2/month. Your Club Archipelago membership includes: Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show; Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums; Logo stickers, pins and other extras, mailed straight to your door; A warm feeling knowing you’re supporting the podcast. Transcript Below is a transcript of Museum Archipelago episode 90. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript I found an old picture of me, taken about a block away from what is now the Grove Museum in Tallahassee, FL. The picture was taken in March 1992: I'm facing the camera as the Springtime Tallahassee parade -- Tallahassee's biggest annual celebration -- goes by behind me. Positioned in the frame is a confederate flag, proudly carried by two people parading down the middle of the street. My three-year-old self is blocking whatever group came after the flag -- maybe a club, maybe a mascot, maybe a group of Civil War reenactors? The fact that the confederate flag in a parade happened to be in the background of this candid shot hints at the white supremacy that undergirds Tallahassee, a city that had a majority Black population during Reconstruction. In 1907, the city refused Andrew Carnegie's offer to build a library, because the conditions of the donation stated that the library would have to serve Black patrons. In the 1970s, Apalachee Parkway was built right over the Black Smokey Hollow neighborhood -- a pattern of development which repeats to this day. And the local newspaper, the Tallahassee Democrat, waited until 2006 to apologize for it's pro-segregationists coverage of the 1956 Tallahassee Bus Boycott. And of course, that white supremacy extends to the local museums. John Grandage: So the whole idea of historical preservation in the United States, so in our country, has been what is worth preserving. And here we are, interrogating the source material to reach back in the past and bring stories that have been dormant or deliberately excluded, silenced, now into a place where they can be told. I think what's interesting is how museums have a role to play in that. John Grandage: Exactly. Right. Because, in some ways museums have been, maybe the nicest way to say it is complicit in that storyline. John Grandage: Right. They're part of that dominant narrative. And that's why this historic house, the Grove Museum, which opened in 2017 is so interesting in the context of how Tallahassee interprets its history. This is John Grandage, executive director of the Grove Museum. John Grandage: My name is John Grandage, and I'm the executive director at the Grove Museum in Tallahassee, Florida. And we are at the Call-Collins house at the Grove Museum. At first glance, the Grove Museum doesn't look like a museum that might change how Tallahassee interprets its history. It's a stately mansion house in the center of town -- less than a block from the parade route -- and it was built from 1835 to 1839 by Richard Keith Call. After that, it was owned by a series of wealthy Floridians, most recently by former Florida Governor LeRoy Collins and his wife, Mary Call Collins, who left the house to the state to preserve as a museum. John Grandage: So I've been here since 2014 and like there wasn't really a clear interpretive plan. So coming up with the, let's tell the whole story, let's talk not just about politics, but let's dig deeper and try to look at this as sort of like a witness to all this history. And then coming up with the let's emphasize on civil rights. The museum uses the governorship of LeRoy Collins as a narrative arc to tell that ‘whole story.’ It traces how his own thinking on race evolved from his early years as a staunch segregationist, as an opening to tell the story of civil rights in Florida. Collins was elected in 1954 -- the same year that the Supreme Court decision of Brown v. Board of Education ruled that segregation is unconstitutional in public schools and other places of public accommodation. John Grandage: When he ran for office, he didn't initially come out in support of that. So it's thinking about how does the country respond to civil rights? Collins feared also, to be very frank about it, the economic ramifications of Florida having kind of, you know, people being firehosed in the street or people standing in front of a doorway of a school and like shouting and calling out the troops to prevent integration. Like that to him was, would have been very damaging to the image Florida. Collins became one of the most prominent white Southern politicians to speak in favor of racial integration and the growing Civil Rights movement. He was governor from 1955 through 1961, which means that he was in charge during the 1956 Tallahassee Bus boycott. John Grandage: The bus boy caught here with the two students at FAMU that that really started it: Wilhelmina Jakes and Carrie Patterson are their names. John Grandage: And then the community organized behind them, then you see the local churches, people like C K Steele, leaders in the community, sort of bring some broader community organization, which of course the boycott put all this economic pressure on the city and the bus company, which ultimately led to them repealing segregated seating ordinances and at the same time, the bus boycott in Montgomery, which started earlier, but runs somewhat parallel. And that's an important part of our interpretation of Collins is that he undeniably has a very specific moral view of the world. And as the state, or as the local government in Florida started to react very extremely to Civil Rights activism like jailing the sit-in demonstrators. What we can trace is here's a person who began to question these beliefs that he had grown up with. He says, it's like a two class society. Right. And he's on the privileged side. And then seeing the response and thinking about the potential for all kinds of ramifications in society. That's really what drove him to do a lot of the things that he did. And so he began to adapt his thinking. So in that way, we can actually take Collins and position the decisions he made, you know, not as something that came solely from him. So it gives a little bit of power to the activists and it helps to position the people really who were putting it on the line. So alongside the Collins story, we're able to tell that story of the local activists, and so it's important that Collins didn't act in a vacuum. Even more critical to the story -- in a way that de-centers Collins -- was the white backlash to his moderate stance on Civil Rights and the Tallahassee Bus Boycott. The version of the civil rights movement that I was taught in public schools in Tallahassee focused on sweeping and uplifting narratives that had widespread support and presented progress as a straight upward line. Simply put, that’s not what happened. After leaving the Governor's office, LeRoy Collins was appointed by President Johnson in 1964 to direct the Community Relations Service under the Civil Rights Act. John Grandage: And so he was present in March, 1965 in Selma, Alabama to negotiate on behalf of the federal government. So the marchers are attacked on March 7th. Collins comes in on March 9th, they sort of negotiate this sort of settlement. They progress past Selma. They go onto Montgomery, but this photo's taken and this becomes like the number one piece of anti-Collins propaganda. So he's with John Lewis and Andrew Young and Dr. King and Coretta Scott King and Ralph [Abernathy], like the main figureheads in the Civil Rights movement. John Grandage: He runs for Senate in 1968, loses the election. And it's really tied back to him being at Selma. He was too liberal, right? Yeah, he was, he was associated with the civil rights activists and that blow back in the South is really pronounced during that 1968 election. Collins went from receiving 99% of the vote share in Tallahassee in 1954 when he ran for governor to 48% in his 1968 senate race. Again, the museum uses this story as the opening act -- presenting Colin's preserved office and an old-timey TV playing videos of his speeches alongside the most detailed account of the Tallahassee Bus Boycott and backlash that I've ever seen. But here's where the museum really opens up -- remember when I mentioned that this house was built by Richard Keith Call? John Grandage: So when we take people through the tour, we sort of give them that story arc, but then we jump back and nest it all within the fact that this was a plantation that, bonds people who were claimed as the property of Richard Keith Call built the home. And like, you can reach up and still touch, the physical fabric of the home that they laid into place, the bricks or those floor joists or whatever. The number one artifact that speaks to African-American history here is the house itself. And it's the positioning of credit who built the home, right? Enslaved people built the house, right. You know, we get this telling of American history where it becomes, you know, Call built the house. Which we know is, you know, maybe not in all cases intended to erase the people: it's our manner of speaking. Right? It's kind of the way that we conceptualize this history at a broader level. John Grandage: So even the position, the credit back to the craftspeople that built the house. was vitally important and putting this museum together. Because when we come, when we bring people in the space and say, think about Collins in that Civil Rights era, and then jump back a hundred years and what this property would have literally been witnessing on a day-to-day basis. Civil rights had been really the purview of only people like Call, you know, not even, you know, women at that time, and certainly not at the African-Americans who were considered property. And sort of denied all, you know, humanity, like we were talking about, even in the records, right there, there tally marks, there may be an age or a gender, and I could show you some ways that we've worked against that, but this speaks to that. One of the interactive exhibits is Call's logbook about the people he enslaved -- represented by tally marks and business records. But the Grove Museum uses the interactive to focus on their humanity. John Grandage: So like for example, this family here, starting with Tom Hackley, We've been able to trace their family up into the present. I mean, present living people who we’re in contact with, who are descended from Tom and Diana Hackley. So that's like that genealogical role that a museum can play. So like Thomas 34, these are their children and , the bank owned them as property at the time, kind of a complex thing. John Grandage: But we've been able to take a document like this and then jump to different documents and make connections to like living people, right. Who are, who are increasingly. The tools that we have, through databases and things like that enable us to do this genealogical research. So people all around the country are finding out things they had no idea about. The museum presents a house -- and even the land it sits on -- as a witness to all of this. John Grandage: The very presence of this place on the landscape is directly related to the forced removal of indigenous people from this area. So we wanted to bring in that because Call got his start as a soldier fighting against the Creeks, the Seminoles. And so he's literally, you know, as we know about, um, kind of colonialism this sort of dropping onto this place of an entirely different way of land use, politics, culture, et cetera, you know, that, that swept, you know, generations of the indigenous people that have that lived here and they were in the process of being removed by the American government from this area, just as Call and his associates were coming here. So it was a very active process. John Grandage: They had actively wage war against them, and they knew it was about expanding slavery into this area. And that these red Hills of Tallahassee were agriculturally going to be very productive. So it's, it's strange how we then tell these different stories. Cause we, we don't want to engage fully with, with, um, you know, the removal of indigenous people and we don't want to engage with with slavery as a system that was, you know, the value of the land was not as important as literally the value placed upon those bodies that were put to work and should be shaping the land. And people don't want deal with that. What's unusual is that the Grove Museum does deal with it -- most institutions in Tallahassee simply don't. The mascot of Florida State University, where Grandage got a degree in Indigenous History is still, as of 2021, a representation of a Seminole Indian. The Grove Museum was able to build on the work of local Black museums and archives, some of which have been featured on previous episodes of this show. John Grandage: I would say like for a museum like this in Tallahassee, and I know you talked to Mrs. Barnes. So like if Althemese Barnes hadn't created the Riley House and hadn't created t…

    Full show notes at the publisher

    89. Tehmina Goskar Critically Engages with Curation, Wherever It Happens Feb 22, 2021
    Show notes

    Dr. Tehmina Goskar, director of the Curatorial Research Centre, co-founded MuseumHour with Sophie Ballinger in October 2014. The weekly peer-to-peer chat on Twitter “holds space for debate” for museum people all around the world.

    This month, Goskar officially steps back from her role at MuseumHour. This episode serves as both an “exit interview” for Goskar’s MusuemHour work and a chance to highlight other projects that she has founded based on her curatorial philosophy.

    In this episode, Goskar discusses founding the Curatorial Research Centre, democratizing culture through her Citizen Curators program (in association with the Cornwall Museums Partnership), and how over six years of MuseumHour conversations have shaped her work.

    Topics and Notes

    • 00:00 Intro
    • 00:15 MuseumHour at 6.5 Years Old
    • 00:50 Tehmina Goskar
    • 01:20 MuseumHour's Founding
    • 03:00 Mediums and Platforms
    • 04:35 Museum Conferences
    • 05:30 What is Curation?
    • 07:15 "To Care For"
    • 07:30 The Curatorial Research Centre
    • 09:20 Citizen Curators
    • 12:38 Archipelago at the Movies: How to Steal A Million (1966)
    • 14:05 Outro | Join Club Archipelago 🏖️

    Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode.

    Unlock Club Archipelago 🏖️

    If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly.

    Join the Club for just $2/month.

    Your Club Archipelago membership includes:
    • Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show;
    • Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums;
    • Logo stickers, pins and other extras, mailed straight to your door;
    • A warm feeling knowing you’re supporting the podcast.

    Transcript

    Below is a transcript of Museum Archipelago episode 89. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript

    For the past 6 and a half years, more or less weekly, museum people gather on Twitter for something called MuseumHour. Together, these people form a peer to peer community, supporting discussion and debate between those who work in, enjoy, and challenge museums in society.

    Tehmina Goskar: That's the beauty of MuseumHour. It is entirely independent. It is not an organization. It is just about holding a space so other people can talk with each other.

    This is Dr. Tehmina Goskar, who co-founded MuseumHour back in October 2014. Goskar also founded the Curatorial Research Centre.

    Tehmina Goskar: Hello, my name is Tehmina Goskar and I am the director and curator of the Curatorial Research Centre. And that's an organization I started back in 2018, very much to support fellow curators from around the world and also to make progress in modernizing curatorial practice.

    This month, Goskar officially steps back from her role in MusuemHour. I wanted this to serve as both an exit interview and a chance to highlight other projects that she has founded based on her curatorial philosophies.

    Tehmina Goskar: Museum Hour started back in October, 2014. Sophie Ballinger, who was the co-founder with me, got together over Twitter. We've never met in real life. Goodness knows whether we ever will. Sophie was based up in the North of England. I'm based in the far West of Cornwall. But we both decided we'd give the idea of these discussion-based hours that were kind of finding their feet on Twitter at that time. So we decided to give it a go and it's grown and grown and grown and changed a lot since then. Of course Twitter's also changed hugely in terms of who participates, who feels confident about speaking up, who lurks in the background. There is a lot of polarization on the platform now.

    And so we've changed and adapted MuseumHour to all of those trends that we've seen happen, including its growing politicization as well. If I'm being honest, I kind of treated the whole thing even six and a half years on as an ongoing experiment in trying to understand how it is people like to communicate with each other and how it is that you can provide some kind of support for this peer to peer contact is what we're really after.

    On Museum Archipelago, we look at museums as a medium. And Twitter is also a medium -- one that has changed since MuseumHour started six and a half years ago. Since then, Twitter has shifted from a simple subscriber model, one where you see all the tweets from the people you follow in the order that they tweeted, to a system that uses algorithms that optimize for other factors, such as engagement with the tweets. This can make a global conversation about museums difficult.

    Tehmina Goskar: With the change in how Twitter is managed and how the concept of driving engagement and algorithms are dictating what we see on our timelines, there has absolutely been an impact on MuseumHour because of that. We've got to work much harder to try and get ideas for topics, for example, or people's ideas out to as broad and interested audience or participation group that we can. And that, that has proven very difficult, in fact, particularly of late, because people's timelines are so manipulated by Twitter's algorithms and because there's so much more noise on Twitter now than there was. So I'm kind of glad that MuseumHour has managed to hold its own so it retains a light structure. It does support those intimate conversations, as well as supporting bigger thoughts and opinions and even ones that people disagree about in one space.

    I’ve participated in and even hosted a few MuseumHours, and the thing it reminds me of the most is a museum conference, or the conversations you might have at a museum conference, which is yet another medium. But, interestingly, Goskar says that MuseumHour has never been about recreating that experience.

    Tehmina Goskar: That certainly isn't the kind of experience you usually get, unless you are fortunate enough to be able to afford to go to very expensive, large international museum conferences, for example, like the Museums Association Conferences in the UK or any of ICOM conferences. But we've never really perceived of MuseumHour to fill that kind of gap. We're still kind of exploring what it is that we think we're doing. And that's just by way of being very honest about not having an agenda and letting sort of the emergent process of MuseumHour happen.

    MuseumHour is just one of the volunteer projects Goskar works on. She is first and foremost a curator -- I term I still ask for the definition of after almost 90 episodes of this show.

    Tehmina Goskar: Curating doesn't just exist in the museum world. And I think far too many people in museums think that being a curator is somehow a special feature of museums, but no other field, but that is just not true. The way I described curation is very, very simple. For me. a good curator is part knowledge creator, and part communicator. So the philosophy of the Curatorial Research Centre is very much to promote this 50% model as we call it, idea of a curator. That you should be as interested in communicating knowledge stories, ideas about people, about material culture, and of course the connections between them as you are in the research, in the generating of knowledge, and also to recognize that not all knowledge and not all research comes from a Western idea of academic research.

    That's very important to me in my practice, but I would certainly also recognize expertise coming from lived experiences, coming from curatorial cultures, as I would recognize them in other parts of the world and certainly from other cultures past as well. So for me, it's very simple: I boil it down to a curator is 50% knowledge generator or knowledge creator and 50% communicator and wrapped ‘round that kind of equation is the very heart of the word to curate, which means to care for. So there must be some elements of intention and meaning and caring for what you're curating in order to authentically curate whatever it is you feel you want to curate.

    Goskar founded the Curatorial Research Centre in 2018, and a few months later brought archaeologist and audiovisual specialist Tom Goskar aboard -- who also happens to be her husband. The Centre aims to work in partnership with museums, not just in a transactional manner. Research is the core of the Centre’s work. At every opportunity research answers the questions: why are things done like this, what should we be doing instead?

    Tehmina Goskar: So why Curatorial Research? What on earth is Curatorial Research? It is critically engaging with the act of curation, wherever that may happen. The study of the phenomenon a bit like museology is the study specifically of museums. Curatorial Research is I would say taking a much more proactive stance towards constantly critically engaging with what curation and being a curator is all about and what it might be all about.

    So from my standpoint, I am an action researcher. I am a pretty vocal thinker and I'm interested in systems. So that means that I'm. Always analyzing, always lining up the evidence to take a really good look at it. Whether that's exhibition making or collections research or that I might be now currently focused on so that might be diversity and decolonization. It might be more about the change in technical skills, a curator needs, or it might be as my current professional life is dominated by training others in how to be a curator, put simply.

    These curatorial values and philosophy are on display in Goskar’s other project: Citizen Curators with the Cornwall Museums Partnership. Citizen Curators is designed to support volunteers by building their confidence and competence in key areas of curatorial work.

    Tehmina Goskar: Citizen Curators a bit like my creation of the Curatorial Research Centre, was a long time in the making before it happened. So I was beginning to think that the idea of volunteer reliant or volunteer run museums needed some kind of channel into what I would call the mainstream professional museum world. And I felt that there was a lack of opportunity there that I felt that a program like citizen curators could fill. There were these really fascinating, bigger ideas, like inclusion, like decolonization of late that were not touching the small museum world. The idea came for Citizen Curators, which, but simply as pitched as a work based curatorial training and museum awareness course aimed specifically at volunteers from our communities and part of it was to sort of break down barriers between volunteers and collections and asking new questions of them.

    Through my support, they had permission to, for example, browse the stores, browse the object, databases, come to their own conclusions, go outside the museum, talk to people about the kinds of things that they were coming up against to also bring their own talents and hobbies and ideas to the process.

    There’s a similarity between holding the permission space for Citizen Curators and holding the discussion space for MuseumHour. For Goskar, both projects feed back into her work at the Curatorial Research Centre.

    Tehmina Goskar: I've always been a practitioner. In the kind of museum, heritage, culture, arts world. That is what some people, and I would describe as, I bring my whole self to the table so I don't compartmentalize the voluntary activities I do. For example, running MuseumHour. And the professional activities I do to earn a living. So as a career curator, curating in all sorts of different contexts, not just exhibitions, but being engaged in collections research, critically engaging in the systems that museums use and take for granted, trying to understand the whole phenomenon of museums. I would say that my experience of MuseumHour has in parts quite heavily shaped how I see other people's views of museums. Other ideas and other thoughts about what museums can and should be. It's also helped me formulate and to check my own understanding and also my own, my own prejudices and biases, about museums and you know what I think a good museum is isn't what someone else thinks a good museum is. And that's okay.

    You can find Tehmina Goskar at curatorialresearch.com.


    88. Jérôme Blachon Collects and Transmits Precious Memories at the Museum of Resistance and Deportation in Haute-Garonne, France Jan 25, 2021
    Show notes

    During World War II, a Nazi collbatoring regime governed the south of France, and the city of Toulouse was a Resistance hub. The Vichy Government promoted anti-Semitism and collaborated with the Nazis, most specifically by deporting Jews to concentration and extermination camps. Fragmented Resistance fighters organized to form escape networks and build logistics chains to sabotage and disrupt the regime.

    In 1977, former Resistance members created a community museum in Toulouse about their experience. Today, that museum is called the Museum of Resistance and Deportation in Haute-Garonne, France, and is run by the regional government. Museum director Jérôme Blachon is reimagining how the museum tells the story of the French Resistance as the people who experienced firsthand pass away.

    In this episode, Blachon describes the challenge of presenting the fragmented nature of the resistance to a modern audience, the 2020 renovation of the museum, and his focus on transmitting precious memories.

    Topics and Notes

    • 00:00 Intro
    • 00:15 Memorials in Toulouse
    • 01:00 Toulouse During World War II
    • 01:32 Jérôme Blachon, Director of the Museum of Resistance and Deportation in Haute-Garonne, France
    • 02:20 "Engage, Collect, Transmit"
    • 02:50 France During Nazi Germany's Administration
    • 03:38 Museum Archipelago Ep. 51
    • 04:08 Presenting the Difference Forms of Resistance in the Museum
    • 05:25 2020 Renovation
    • 05:35 The Disappearance of the Last Witnesses
    • 06:26 The Museum as Transmission
    • 06:45 Outro | Join Club Archipelago 🏖️

    Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode.

    Unlock Club Archipelago 🏖️

    If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly.

    Join the Club for just $2/month.

    Your Club Archipelago membership includes:
    • Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show;
    • Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums;
    • Logo stickers, pins and other extras, mailed straight to your door;
    • A warm feeling knowing you’re supporting the podcast.

    Transcript

    Below is a transcript of Museum Archipelago episode 88. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript

    Toulouse, France has many memorials, covering hundreds of years of history. There’s a statue of Joan of Arc, there's monuments to the soldiers of the Franco-Prussian War, and there’s memorials to the dead of World War I.

    But look closer, and you’ll also find sites covering a very specific slice of history: the years between 1940 and 1944, the period of Nazi Germany’s military administation of France. There’s the building where the Gestapo secret police made their local headquarters, there’s a monument to the Glory of the Resistance, and there’s the Shoah Memorial, the Hebrew word for the Holocoust, that honors the Jews who were deported and killed during this period.

    Jérôme Blachon (speaking French): Toulouse, during World War II, was a Resistance hub in the South of France. A lot of Resistance fighters came to Toulouse to form a Resistance unit and many then left for the rest of France or Spain. A number of escape networks began in Toulouse and took English airmen, for example, or Resistance fighters across the Pyrenees to London or the United States.

    This is Jerome Blachon, speaking French. Blachon is head of the Museum of Resistance and Deportation in Haute-Garonne, France, which is right down the street from many of these memorials in Toulouse. This museum brings together these sites, as well as artifacts, stories, and witnesses from across the region and all over France.

    Jérôme Blachon (speaking French): Hello, my name is Jerome Blachon. I am in charge of the Museum of Resistance and Deportation in Haute-Garonne, France. The museum actually opened in 1977. It was first a community museum.

    The museum was initially a community museum set up by former members of the French Resistance, and in 1994, it became departmental--which is to say it is now funded by the regional government.

    Jérôme Blachon (speaking French): The three themes of the museum are: engage, collect, transmit. We collect to store and transmit this memory of our ancestors from our elders to future generations. Memorials that defend the memory of the Resistance gives us access to people who have objects in their homes and documents and some of them intrust them to us.

    The focus on Toulouse and the surrounding region in the museum is in not just because it’s under the authority of the regional government--it also reflects the the uneven and ever-changing military administation of France under Nazi Germany. Until November 1942, the Nazis only had direct occupation of part of the country: mostly the north of France, including Paris, and the western coast. The south of France was under the jurisdiction of the Vichy regime--an independent ally of Nazi Germany, which promoted anti-Semitism and practiced collaboration with the Nazis, most specifically by deporting Jews to concentration and extermination camps.

    So when it comes to the people fighting this regime--the Resistance--It’s tempting to present history like a story, with clear-cut intentions and a simple narrative. But the history of the French Resistance was anything but simple. It’s not like there was one single unified resistance with one single outcome in mind.

    In episode 51 of this program, we examine another collaborationist regime: Bulgaria in the early 1940s, by visiting the Sofia Jewish Museum of History. Today, one of the galleries is named The Holocaust and the Rescue of the Jews in Bulgaria, which even the museum staff say is an overly simplisic title.

    Jérôme Blachon (speaking French): Many visitors are in fact unaware of this fragmented structure of the Resistance, with the Gaullists on one side and the Communists on the other. So, in the Museum, we do indeed present the different forms of Resistance.

    To present the complexity, the Museum of Resistance and Deportation focuses on presenting objects gathered from witnesses. These include Resistance newspapers of various groups, and photos and testimonies of those who were fighting -- whether in acts of sabotage, providing shelter to those who needed it, or even building the logistictics of feeding fighters in other parts of France. There’s also catalogues: names and photographs of people deported and accounts of reprisal attacks against Resistance Fighters and Collaborators alike, as control of territory ebbed and flowed.

    Jérôme Blachon (speaking French): The period of World War II is quite complex to explain to the younger generations, who often have a rather Manichean view, that is to say in black and white. You are either a Resistance fighter or a collaborator, pro-Vichy, Nazi, that's it. You are either a good guy or a bad guy. The museum was closed for an 18-month renovation from 2018 until 2020. The renovation modernized the museum, and also reflects our moment in time.

    Jérôme Blachon (speaking French): Today, this type of museum has a new dimension with the disappearance of the last witnesses, since they can no longer testify in front of students, scholars and the general public. So it is our mission to transmit this memory. To do so, we have collected and we continue to collect objects, and especially testimonies.

    The renovated museum features two floors of permanent galleries and space for temporary exhibitions. Special programs are available to school kids, who are encouraged to question the sustainability of the spirit of resistance, the current struggles for the preservation and extension of rights and freedoms, and the fight against inequalities. Today, it’s no longer a museum run by former members of the resistance, but instead it focused on being the transmission to new generations.

    Jérôme Blachon (speaking French): The witnesses are now 90 or 95 years old, and we continue to collect their testimonies and to project, broadcast, and record these testimonies in order to gather their precious memories and transmit them to the new generations.

    This has been Museum Archipelago.


    87. The Vitosha Bear Museum Lives in a Tiny Mountain Hut Nov 16, 2020
    Show notes

    Vitosha Mountain, the southern border of Sofia, Bulgaria, is home to about 15 brown bears and one bear museum. According to Dr. Nikola Doykin, fauna expert at the Vitosha Nature Park Directorate, the bear population is stable—if humans stay away and protect their habitat. To Doykin and his team, teaching children about the bears is the best way forward, and the Vitosha Bear Museum does just that.

    Founded in 2002 by repurposing an abandoned mountain shelter for the Vitosha mountain rangers, the Vitosha Bear Museum provides “useful tips on how to meet a bear.” It’s also sparse: the entire gallery is a single room, and the gallery lighting is powered by a car battery.

    In this episode recorded at the museum, Dr. Nikola Doykin describes why the location is so useful for eco education, how groups of schoolchildren react to exhibits, and what the museum plans to do when it installs solar panels.

    Topics and Notes

    • 00:00 Intro
    • 00:15 Vitosha mountain
    • 00:50 The Viosha Bear Museum
    • 01:05 Dr. Nikola Doykin
    • 02:10 The Location of the Museum
    • 04:00 "Useful Tips On How To Meet A Bear"
    • 04:35 Bear Markings in the Museum
    • 06:40 Ep. 6 Muzeiko
    • 06:50 Ep. 46 Vessela Gercheva Directs Playful Exhibits at Bulgaria’s First Children’s Museum
    • 08:30 Outro | Join Club Archipelago 🏖️

    Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode.

    Unlock Club Archipelago 🏖️

    If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly.

    Join the Club for just $2/month.

    Your Club Archipelago membership includes:
    • Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show;
    • Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums;
    • Logo stickers, pins and other extras, mailed straight to your door;
    • A warm feeling knowing you’re supporting the podcast.

    Transcript

    Below is a transcript of Museum Archipelago episode 87. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript

    Towering over the Bulgarian capital of Sofia is Vitosha mountain. Connected to the city by several public buses, residents like me love hiking the numerous mountain trails to get away from the hustle and bustle.

    [Hiking Sounds]

    And it was on one of these solitary hikes that I first came across The Vitosha Bear Museum. At first I didn’t quite know what I was looking at: a cute little hut halfway up the mountain with a locked door and boarded up windows.

    But the sign said Bear Museum in Bulgarian, and also that the museum was closed because it was “hibernating” for the winter.

    So I sent some emails and that’s how, a few days later, I met Dr. Nikola Doykin at the museum.

    добър ден! (Good day!)

    Dr. Nikola Doykin: добър ден! (Good day!)

    Dr. Nikola Doykin is a Fauna expert at the Vitosha Nature Park Directorate, the organization that runs the museum. And he also had a key to open the museum door, which he wasn’t sure would work because it had been a month since he last used it.

    [Key Unlocking Sounds]

    Dr. Nikola Doykin: “And as you see, our museum is how to say, very simple.”

    The museum is as small on the inside as it looks on the outside. There’s no electric connection at the museum -- the LED lights that illuminate the gallery are powered by a car battery that Doykin switched on when we entered.

    The rustic appearance is a carryover from the building’s first purpose: a mountain shelter for the Vitosha mountain rangers.

    Dr. Nikola Doykin: And this was the place that they are staying during the night. And after that, it was abandoned, totally. And one guy had the idea to make this a place where we can show the bears, and where they can live, and the whole idea of the bears in the forest.

    The abandoned shelter was turned into the Vitosha Bear Museum in 2002. For Doykin, this is the perfect setting for the museum -- because what’s outside is just as important as what’s inside.

    Dr. Nikola Doykin: it will be easy for us if this kind of a museum was in a city. But we cut the line if we are in the city, but not in the forest because after that we can go out in the forest and show something else to the children. And mostly we have a little bit of a different education with the children and we start from here after that, we go out in the field and they can feel everything.

    Dr. Nikola Doykin: the idea is to put especially the children, the new generation, to put them in a real feelings to smell the forest, to feel the wind. The whole idea of the eco education, forestry education to take out the children from the cities and to show them real nature and how they can walk around and even to have fun in the forest, not only in the cities.

    The forests and mountains of Bulgaria represent a part of the national ethos, and so do the brown bears that live there. As the number of bears in the country declined, so too has the cultural pervasiveness of bears as fearsome carnivorous predators. Today, there’s an increased focus on conservation and even a sense of pride about Bulgaria’s remaining bears.

    Dr. Nikola Doykin: We can say something about 10 to 15 bears that are left in Vitosha mountain, but mostly on the south part of the mountain.

    According to Doykin, DNA testing has indicated that there’s enough genetic diversity in this population of bears to reproduce and ensure their continued survival on Vitosha mountain -- that is if humans stay away and protect their habitat. To Doykin and his team, teaching children about the bears is the best way forward. As a local news article about the museum put it, “useful tips on how to meet a bear are given at the Vitosha Bear Museum”.

    Dr. Nikola Doykin: And mostly what to do, not to meet the bear. And if we meet it, find it somehow, what to do.

    In the corner of the room, there’s a tree taken from the forest which has markings from a bear.

    Dr. Nikola Doykin: What they do to mark their territory, the different types of markings. And also, one tree that is for real marked, from a bear, here with his teeth and here with his claws.We can show to the children what, what to look for.

    The tree in the sparse interior makes it easy to connect visitors to what’s going on outside the four walls.

    Dr. Nikola Doykin: After we show them how the bears mark their territory, to start to look around, to see if some of the trees are marked, And then we present to the children that same information. Where it can live, where we can find it, to take care of the animals, not to kill them, we make some programs and speak to the childrens.

    On interpretive panels, visitors will also find information about the evolution and geographic distribution of different types of bears. These cover not just the brown bear -- the only type of bear found in Europe in Bulgaria, but also black bears in the Americas and in Asia, and polar bears. A glass case displays skulls from all of these bears. There’s even a bit of space in the basement where visitors can go inside a fake bear cave and see statues of a brown bear and her cub.

    Dr. Nikola Doykin: In here, the main idea was to be dark, because in a cave, there is no lights. We had no real bears, but only those. And the small bear in the cave, that's his mom take care of him.

    The cave is the perfect example of the museum working with what it has -- in this case a dark, low-ceilinged basement that doesn’t require electricity, and choosing the interpretive materials carefully -- in this case a simple statue is quite effective.

    In many ways, the museum stands apart from the Muzeiko Children’s museum in Sofia, which we’ve featured in episodes 6 and and 46 of this show. That museum: the first children’s museum in the Balkans, features a huge number of computerized interactives centered around the concept of playful learning, which was not encouraged -- to say the least -- when Bulgaria was a Communist country.

    But The Vitosha Bear Museum also breaks the mold of rote memorization and statistics overload that used to define Bulgaria’s education system and is still present at many of Bulgaria’s museums. But instead of computerized interactives, the museum finds playful learning in the feeling of a sparse ranger’s hut.

    And next season, the museum will add electricity with a solar panel system.

    Dr. Nikola Doykin: Next year, already we got contract with company to make a solar system with solar panels. We will have electricity and then we will have more things to do.

    With electricity installed, Doykin and his team hope to increase the number and interactivity of the exhibits.

    Dr. Nikola Doykin: For me, it's not bad to have this kind of nature of feeling of wood, really to touch the bear or to smell the leaves. And also you can have some interactive games. You can make some 3d, and mentioned to see how the bear walking around.

    But Doykin -- who would spend all his time in the mountains if he could -- still considers the real museum to be on the outside.

    Dr. Nikola Doykin: We have both museums: the biggest and the smallest. And it's good to have both.

    This has been Museum Archipelago.


    86. Nashid Madyun Fights the Compression of Black History at the Meek-Eaton Black Archives Sep 21, 2020
    Show notes

    History professor Dr. James Eaton taught his students with the mantra: “African American History is the History of America.” As chair of the history department at FAMU, a historically Black University in Tallahassee, Florida, he was used to teaching students how to use interlibrary loan systems and how to access rare book collections for their research. But in the early 1970s, as his students' research questions got more in depth and dove deeper into Black history, he realized that there simply weren't enough documents. So he started collecting himself, driving a bus around South Georgia, South Alabama, and North Florida to gather artifacts.

    That collection grew to become the Meek-Eaton Southeastern Regional Black Archives Research Center and Museum on FAMU’s campus. Today, museum director Dr. Nashid Madyun presides over one of the largest repositories of African American history and culture in the Southeast.

    In this episode, Madyun describes how the structure of the gallery fights the compression of Black history, how the archive handles dehumanizing records and artifacts, and how a smaller museum can tell a major story.

    Topics and Links

    • 00:00 Intro
    • 00:15 Dr. James Eaton
    • 00:50 Starting The Collection
    • 01:35 Dr. Nashid Madyun
    • 02:44 Carnegie Library
    • 03:20 13 Galleries at the Meek-Eaton Black Archives
    • 04:56 The Compression of African American History
    • 05:20 Jim Crow and the KKK Exhibit
    • 06:02 Presenting Derogatory Material at the Museum
    • 07:00 How a Smaller Museum Can Tell a Major Story
    • 08:20 Manumission Exhibit and Reading Cursive Handwriting
    • 09:24 No Visitors During the Pandemic
    • 10:40 Museum Archipelago Episode 85
    • 11:00 The First Steps to Telling Hidden Stories
    • 11:50 SPONSOR: SuperHelpful
    • 12:45 Outro | Join Club Archipelago

    Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode.

    Sponsor: SuperHelpful

    This episode of Museum Archipelago is brought to you by SuperHelpful, an audience research and development firm dedicated to helping museum leaders create more equitable and innovative organizations through problem-space research.
    Kyle Bowen, the founder of SuperHelpful, has brought together a team of designers and researchers to build a new community for museum folks who want to support one another as they reimagine what museums will be in the future. To join—and bypass the current waiting list—use this special link just for Museum Archipelago listeners!


    Transcript

    Below is a transcript of Museum Archipelago episode 86. Museum Archipelago is produced for the ear and the only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript

    [Intro]

    History professor Dr. James Eton taught his students with the mantra: “African American History is the History of America.” As chair of the history department at FAMU, a historically Black university in Tallahassee, Florida, he was used to teaching students how to use interlibrary loan systems and how to access rare book collections for their research. But in the early 1970s, as his students' research questions got more in depth and dove deeper into Black history, he realized that there simply weren't enough documents.

    Nashid Madyun: And that helped him to realize that the understanding of Abraham Lincoln, the KKK , the rise of the Black middle class, Jim Crow, all of the stories where will forever untapped properly if there is no repository. And he found that as people die, they had material in their attics. But in this region: South Georgia, South Alabama, Northern Florida, there was no place to present these wares. So he started to try to enhance his classroom with these artifacts. He took advantage of an available bus and went around the region, asking people for material and they were happy to share and donate.

    Nashid Madyun: And there was no formal museum practice or archive at the time. It was a professor of history trying to find a way to help the students see that there are two sides to a story.

    That collection grew to become the Meek-Eaton Southeastern Regional Black Archives Research Center and Museum on FAMU’s campus, one of the largest repositories of African-American history and culture in the Southeast. This is Nashid Madyun, director of the museum.

    Nashid Madyun: Hello, my name is Nashid Madyun. I'm director of the Southeastern, regional Black archives research center and museum at FAMU, that’s Florida A&M University.

    Nashid Madyun: So this institution was founded in 1971. It opened its doors officially to the public in 1976. Professor James Eaton was able to collect artifacts to enhance the classes he was teaching in history, in African American history. And he was able to utilize this building in the mid seventies to present the rare memorabilia and artifacts that he found to interpret African American history as he saw it and present public programs.

    The collection and museum are housed in the Carnegie Library on FAMU's campus. Dr. James Eton died in 2004, during the construction of a four story expansion building that was erected right behind the library to keep up with the growing size of the collections.

    Because the archive was started from artifacts and documents gathered by bus, there is some geographic focus on the North Florida region. But today the Museums interprets Black history in general -- with objects from all across the country.

    Nashid Madyun: The research we pulled together takes us to the entire Florida panhandle and South Alabama, South Georgia. So now we have what we consider amongst these four floors, 13 galleries. The highlight, the number one highlight would be our Jim Crow and KKK collection, an authentic uniform, the constitutions from the 1920s, the memorabilia that highlight the derogatory advertisements and propaganda of the Jim Crow era. We also have an authentic-style church highlighting the plantation churches of the TriCounty area, as early as 1830s and replicas of those churches. 64 churches were utilized for this exhibit.

    Nashid Madyun: We also have a changing gallery upstairs that we highlight items or issues that address some point or some aspect of popular culture. Public culture now would be Black Lives Matter. And that movement has been going on for the past couple of years, so what we have up now is an exhibit objectively presenting the subject of newsprint from the 1700s to the present, how the violence and Black Codes and legislation and perspectives have been portrayed in print media. And so people have been very interested in that exhibit, so that's very compelling.

    The galleries also include African Americans in the Military -- which features artifacts from the Civil War and the Spanish American War, and African American pioneers in medicine and science, which highlights FAMU’s role as a research institution.

    With the way the gallery is setup, Madyun fights against the compression of African American history -- when I was studying Black history in Tallahassee, Florida as a high school student, we moved quickly from the Emancipation to the Civil Rights movement of the 1960s, skipping the time between.

    Nashid Madyun: I like to integrate new possibilities and ways to tell stories that are hidden or not properly told. We call this particular exhibit Jim Crow and KKK, aside from Slavery to Freedom. So the exhibit previously had all of these words together. And I wanted to separate those two so that we could see that there was a split and time: there was bondage and then there was amancipationand freedom, and there was a gap from the 1880s to the 1930s, when cotton was king, tobacco was strong. You had the rise of the Black middle class and the rise of the Black middle class, the mobility of the Black middle class specifically coincides with the three waves of the KKK.

    Nashid Madyun: So we present the derogatory material in the face of the public and say, this is how it was, and this is why it was, you had people who feared this rise.

    Nashid Madyun: And so. You can interpret it how you want to, but we presented based on the information we have. We could talk about the rise of Historically Black Colleges and Universities, the introduction of dentists and lawyers, the Harlem Renaissance, the Chicago Renaissance, all of these movements just so happened to coincide with the exact time frames of these waves of the KKK. And that's what's going on. And so I don't believe that any part of our history, whether slave chains or breathing beds or KKK robes should be hidden.

    The depth and breadth of the collection enables The Museum to tell a much broader story than just a historical house -- or a museum that is tied to a single event. For museums that interpret Black history, that’s still somewhat rare, but Madyun sees it as the beginning of a trend.

    Nashid Madyun: I've been in museums for 20 years and when I came into museums all the museums, the majority were mainstream, there were only a few African American museums. If there was an African American museum, it was an African American historic house, right? And so the idea that a major story can be told by a small museum in our new virtual world is possible.

    Nashid Madyun: It was not possible 10 years ago. Definitely not possible 20 years ago. So we have the opportunity. Unfortunately, we still need to catch up to the digitization that’s needed so that we can compete. Major museums, some city museums, you know, especially art museums, they receive city funding, even if they're attached to universities. And now we're starting to see that happen with the Black museums. And my role is to take advantage of these resources and bridge the gap.

    Madyun says that part of the gap is technological -- that museums are always trying to catch up to where visitors are. An example that he cites is seeing his student visitors not being able to read cursive handwriting.

    Nashid Madyun: We had an exhibit last year that we thought was wonderful and opened it up. And the students are coming in and looking at manumission, actual bills of sales from slaves, you know, former slaves buying their sisters and brothers and wives, buying their freedom. And so we're waiting for that jaw dropping expression, and they're looking at it like it's art.

    Nashid Madyun: I'm like, “oh, they don't know how to read cursive writing!” Here's a letter from Zora Neale Hurston talking about her ex and going through that divorce, you know, she's from Florida, understanding that the cost of a slave was $800 and pulling these details that you would normally get. And there's a generation gap. I'm in my forties and beyond, but the new generation that are not learning to write long form or manuscript or cursive writing. So now we're able to go back and look at some of these exhibits and enhance them and align them properly.

    It turns out, the museum has time to go back and enhance some of the exhibits because of the pandemic.

    Nashid Madyun: Because of the time we live in with the pandemic the idea of digitization has, really been propelled into a stage that is front and center. People were at home doing summer wondering what they could do. They wish they could go visit the museum. You've had three or four years to get to the museum in your hometown. Now we wouldn't really want to get out and get to the museum. We began to walk through the museums and pull out artifacts and have virtual tours. It's been a very good, very productive summer. Partly because we've had no guests so we've been able to focus on all of these very practical logistical projects. And we're going to come out a nice polished, shiny diamond able to look at K through 20. So the students on campus and the counties that surround us, the exhibits will be aligned to support curriculums. Students and teachers will be able to go to our website and pull down scavenger hunt and coloring pages or discussion questions and see artifacts to help illuminate that.

    The Meek-Eaton Southeastern Regional Black Archives Research Center and Museum is part of the Florida African American Heritage Network, which we discussed in episode 85 of this show. For Madyun, the increased focus on Black museums in the state and the slow progress towards more historic markers on Black history are stepping stones.

    Nashid Madyun: It's a stepping stone. These are the first step into establishing and acknowledging stores sometimes. And hopefully stories are our objective, but at the least you are able to identify the initial point of interest and organizations, nonprofits, grassroots communities can come together and expound on that. Whether they erect a structure, a walking park, an activity, but across the South specifically, and I'm from Arkansas, across the South, it's been wonderful to see places that have monuments, or a historic house, or parks or demonstrations where there was once just a marker.

    [Outro]

    85. The John G. Riley House is All That Remains of Smokey Hollow. Althemese Barnes Turned It Into a Museum on Tallahassee’s Black History Aug 31, 2020
    Show notes

    During the period of Jim Crow and the Black Codes, a self-sustaining Black enclave called Smokey Hollow developed near downtown Tallahassee, Florida. As the first Black principal of Lincoln High School, John G. Riley was a critical part of the neighborhood. In 1890, he built a two-story house for his family—only about three blocks from where he was born enslaved. In the 1960s, the city of Tallahassee seized and destroyed the neighborhood as part of an urban renewal project through eminent domain. Riley's house was all that remained, thanks to activists who fought its demolition. Althemese Barnes was determined to not let the history fade: as founding director of John G. Riley Research Center and Museum, she transformed the building into a place where people can learn about Smokey Hollow. In this episode, Barnes talks about creating a museum to connect with young visitors, the process of becoming familiar with Florida's museum organizations which are often resistant to interpreting Black history, and the long process of building a commemoration to Smokey Hollow in Tallahassee’s urban landscape. Topics and Notes 00:00 Intro 00:15 John Gilmore Riley 00:50 Althemese Barnes, Founding Director of the John G. Riley House and Museum 01:15 Tallahassee in 1857 02:45 Why The Name Smokey Hollow? 04:00 The John Gilmore Riley House 05:00 Jim Crow and the Black Codes 05:40 Growing Up in Tallahassee 06:00 The Destruction of Smokey Hollow Through Eminent Domain 07:26 Barnes Steps Forward to Found the Museum 08:10 Interpreting Black History at the Museum 09:10 Dred Scott v. Sandford 09:25 Brown v. Board of Education 10:00 The Development of Cascades Park 11:40 Smokey Hollow Commemoration 12:15 Florida African American Heritage Preservation Network (FAAHPN) 12:30 Barnes Becoming Familiar with the Museum World 12:45 Resistance to Teaching History 13:44 SPONSOR: Ian Elsner 14:20 Outro | Join Club Archipelago 🏖️ Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode. Unlock Club Archipelago 🏖️ If you like episodes like this one, you’ll love Club Archipelago. It offers exclusive access to Museum Archipelago extras. It’s also a great way to support the show directly. Join the Club for just $2/month. Your Club Archipelago membership includes: Access to a private podcast that guides you further behind the scenes of museums. Hear interviews, observations, and reviews that don’t make it into the main show; Archipelago at the Movies 🎟️, a bonus bad-movie podcast exclusively featuring movies that take place at museums; Logo stickers, pins and other extras, mailed straight to your door; A warm feeling knowing you’re supporting the podcast. Transcript Below is a transcript of Museum Archipelago episode 85. Museum Archipelago is produced for the ear, and only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript John Gilmore Riley was born enslaved on a Tallahassee, Florida plantation in 1857. Althemese Barnes: John Gilmore Riley was born into slavery about three blocks from here. After slavery ended, he chose education for a career and became the first black principal of the Lincoln high school that was built to provide an education for newly free slaves and their descendants. Here - where we’re sitting right now -- is the John G. Riley House and Museum in what is now basically downtown Tallahassee, and this is Althemese Barnes, the founding director of the museum. Althemese Barnes: Hello, my name is Althemese Barnes and I am the founding director of the John Gilmore rally research center and museum. And I've also been, I'm still the executive director and I've been that for 24 years. The John G. Riley House -- a handsome two story wood house -- sits in the same neighborhood as the older well-kept plantation homes. Tallahassee in 1857 was the center of Florida’s plantation economy, a system built almost entirely on enslaved labor. Enslaved people outnumbered white people three to one. Of the 779 white families living here in 1860, nearly two thirds owned at least one person. Althemese Barnes: Once the slavery system broke down or was eliminated in the area, a lot of the properties remained a part of that establishment. And a lot of the Blacks who worked on the plantation remained in the area. Over time, other Blacks moved in. So ultimately, it became this African American enclave we call it. And it's over 80 families settled around the 1870s. The families had stores. They had churches. They had a school that operated out of new Saint John AME church. Um, they had a Woodyard and I say all that to say that it was a pretty much self sustaining community. They had pretty much everything that was needed, which was important because it was doing on the days of segregation, legal segregation.So they were limited in terms of where they could go to shop. Where they could go for entertainment and what have you. And during the period of Jim Crow and the Black Codes, this neighborhood, this enclave, became known as Smokey Hollow. Althemese Barnes: Why the name Smokey Hollow? With our younger visitors, we have fun with that, but Smokey Hollow grew up out of the fact that, okay, it's an all-Black community. So a lot of the more, I would say, undesirable elements ended up in Smokey Hollow. So you have the electric station, the first electric building, the incinerator where all of the city’s trash was burned was in Smokey Hollow. Many of the women did domestic work, white families brought in their clothes and back then the women did the wash outside over a black smudge pot. So they had to make these fires. And so he would always see smoke coming up from the fire pots and then the train ran right through Smokey Hollow. So what does it emit smoke? So that's all of that is about the smoke part. Then we say to the children, well, where are we? Are we on a hill? No, we are in a hollow. So that's the Smokey Hollow. John G. Riley was a critical part of the self-sustaining neighborhood. As the principal of the the Black Lincoln academy, which later became Lincoln High School, he was known as Professor Riley. He also served as a Guardian -- a kind of official record keeper of births and deaths for Black people in the Smokey Hollow neighborhood. The majority of houses in Smokey Hollow could be described architecturally as “shotgun homes”. Riley was able to buy some, and rent them to tenants in Smokey Hollow. In the 1890s, Riley built this grander house for his family on the northern end of Smokey Hollow. Althemese Barnes: this house, when it was built, Was a very upscale, big deal for Tallahassee, for a Black person. Because if you think of the fact that, okay, you have a person who was born a slave and he was a slave until he was about eight, nine years old then along came. Another time in history when people like Mr. Riley still, we're not allowed to learn, to read and write. So he had to slip and get books. He had an auction. Yeah. Riata who was very learned it. So she could teach him how to read and then he grows up a little more, but he still has obstacles. And then. Look at the fact that other people counted on him. And then you Jim Crow and the Black Codes. Yeah. Black people, especially the men were in danger. Couldn't do things that other men did. There were lynchings close by because the jail was in Smokey Hollow, and they could it pass in there every day. I grew up in Tallahassee—in fact, I grew up and went to school less than 2 miles from Smokey Hollow, but I had never even heard of it, not even once. So why had I never heard of it? That was the question I came to the Riley house to ask. It turns out there’s a lot of reasons, but it all stems from an event that Barnes simply refers to as eminent domain. 14 years after Riley died, the city of Tallahassee decided that it needed the land that the Smokey Hollow neighborhood sat on -- and proceeded to take it as public property through eminent domain. Althemese Barnes: In 1968 the community was eminent domained, you had maybe about eight families that were able to negotiate and stay in there long enough to get money for that property. The residents were told that the city needed the land to build a new capital complex -- Tallahassee is the capital of Florida -- but not much actually came of the project save for the construction of a new road over the neighborhood, and this was the Talalhassee I was familiar with. The community: erased out of the urban landscape, and out of the minds of people like me. But not for the former residents, who forever resented eminent domain. With most of Smokey Hollow already cleared out, in the 1970s, the city also had its sights on the Riley House itself. Althemese Barnes: the idea was to demolish the house and turn it into an electric substation here. Former residents of Smokey Hollow -- many of whom were taught by Riley -- rallied to prevent the home from being destroyed. The house was fully restored in 1981. Barnes says that it was the preservationists’ goal that the house would serve as a center to interpret local African American history. And that’s where Barnes comes in. In 1996 she stepped forward to turn the dream into a reality, starting with oral histories. Althemese Barnes: We were the first people to come over to get it all cleaned up after the restoration, to turn it into a research center and museum. There are many ways to interpret this house history through aspects of his house. One of the first things I did when I came here. I said, we don't want to just be a museum with pictures on the wall. I wanted to document history that has been ignored, neglected. So with my old camcorder camera and tripod, I did almost a hundred interviews. All the people are deceased now. If people want to know anything about the Black history, the real authentic Black history. You have to talk with people who lived it. Someone else might tell you something, but your primary source is much better. Today the dream is realized. The museum doesn’t just have pictures on the wall..There’s even a talking, Audio Animatronic likeness of Riley which was, in a very Florida twist -- donated by the Disney cooperation. Audio Animatronic Riley: “If you don’t know your roots, people can tell you anything and convince you of its truthfulness.” Barnes says that the museum uses the years of Riley’s life as an interpretive method to provide context for the legal forces of segregation acting on Smokey Hollow and Black people across the nation. Althemese Barnes: We kind of bring it up even with, with the birth and death date. Mr. Riley was born in 1857, so we said, okay, what famous court decision happened in 1857? And if it's then middle school or up students, keep thinking, if you think. Oh, Dred Scott. Yes. Dred Scott decision. Tell me about Dred Scott. Black man trying get his freedom. Didn't work. Courts ruled against him. Okay. Mr. Riley died in 1954. What happened in 1954 relates to education? Oh yes. Brown vs the board of education! The location reviews of the John G. Riley House and Museum mostly express gratitude to learn what reviews didn’t learn in school. There aren’t too many museums in Tallahassee that interpret these kinds of histories. Barnes knows all too well how much work -- often bureaucratic work -- is necessary to keep the memory of Smokey Hollow in the city of Tallahassee. A more recent example of this comes in the City’s development of a new 24 acerpark, called Cascades park on mostly land that used to be Smokey Hollow. Althemese Barnes: Now here we are with these 24 weeks, well, we will do this part. And the whole thing was that the people doing the development city County, whomever was making no mention. Of the footprint, of the original footprint. And when it was time for Q and A, I raised my hand and it got to the point where people knew what I was going to say, you know, I think you need to represent the history of what was here before. You make this into cascades park, bam, no reference to smoke hour that went on for about two years. Finally, after a shift in project management, Barnes was invited to create a group that would commemorate Smokey Hollow at Cascades Park. Althemese Barnes: So we met for about, I would say two and a half, three years identified people from Smokey Hollow, brought them in. Did oral history histories. We had work groups, we got a bit map, they will come and put a sticker. Okay. This family that was here is they mopped where everybody lived, where every business was located, everything we needed to document Smokey Hollow. The results of Barnes’s efforts are now right across the street from the John G. Riley house. Park goeres pass the Smokey Hollow Commemoration -- which includes historical places and cleverly designed 3D outlines of the ubiquitous Smokey Hollow shotgun houses. Althemese Barnes: We really wanted to put real shotguns, but there was the safety security factor, that kind of thing. And so we decided now what should we call these and run around? And so we said spirit houses, because, because though Smokey Hollow is not here, the spirit of Smokey Hollow lives on. When she stepped forward to work on the museum in 1996, Barnes was unfamiliar with the museum world -- she had worked in state government. She had never written a grant. But she became familiar with the museum world in Florida. She helped found the Florida African American Heritage Preservation Network, which features landmarks and museums all across the state. She wrote grants. She helped others write grants. In order to fund projects that were overlooked by the mostly white historical establishment, she realised that she needed to sit on committees that decided which grants should be awarded, and then she sat on those committees. Althemese Barnes: But to this day, there are still resistant. If you go to some of the organizations that are supposed to be representing the state museum groups, associations, go to some of their meetings… phish. And it's really unfortunate because there's a rich history here. Now I would say during the past, say five to seven years, I've noticed more and more as a few younger people come up, they have come in wanting to know what are you doing? But it's a richness that people have missed all these years. The resources were there, but they didn't have the people with the right mindset. And this is all a part of this social justice that people talk about. And then the house itself built 1890. How many years ago was that? In a person's life they aren't supposed to still stay in, but this house is standing because some people cared about it. This has been Museum Archipelago.

    Full show notes at the publisher

    84. On Richmond’s Transformed Monument Avenue, A Group of Historians Erect Rogue Historical Markers Aug 10, 2020
    Show notes

    Near the empty pedestals of Confederate figures that used to tower over Monument Avenue in Richmond, Virginia, a new type of historical marker now stands. The markers have most of the trappings of a state-erected historical plaque—but these are rogue markers erected by a group of anonymous historians called History is Illuminating. History is Illuminating decided to use historical markers as a medium to talk about the Black history taking place while those statues were erected as monuments to white supremacy. In this episode, an anonymous member of History is Illuminating discusses the ubiquity of the Lost Cause narrative, the reasons for being anonymous and going rogue, and the means of historical marker production. Topics and Notes 00:00 Intro 00:15 Historical Markers in the U.S. South 01:00 History is Illuminating 01:20 Rogue Historians 02:10 Lost Cause Narrative 03:13 Monument Avenue 05:15 The Origins of History is Illuminating 06:10 Studio Two Three 06:20 Naming History is Illuminating 08:10 Constructing the Historical Markers 08:30 Episode 42. Freddi Williams Evans and Luther Gray Are Erecting Historic Markers on the Slave Trade in New Orleans 09:05 The Markers 09:45 John Mitchell Jr. 10:30 Going Rogue 11:00 Means of Historical Marker Production 12:35 Learn More and Donate to History is Illuminating 13:05 SPONSOR: Pigeon by SRISYS 🐦 13:52 Outro | Join Club Archipelago 🏖 Museum Archipelago is a tiny show guiding you through the rocky landscape of museums. Subscribe to the podcast via Apple Podcasts, Google Podcasts, Overcast, Spotify, or even email to never miss an episode. Sponsor: Pigeon by SRISYS 🐦 This episode of Museum Archipelago is brought to you by SRISYS Inc - an innovative IT Apps Development Company with its Smart Products like Project Eagle - an agile messaging platform and PIGEON - a real-time, intelligent platform that uncovers the power of wayfinding for your museum, enabling your visitors to maximize their day at your venue. Using SRISYS's Pigeon, the museum's management can gather real-time data for managing space effectively about visitors while improving their ROI through marketing automation. Visitors can navigate the maze of a museum with ease, conduct automated and personalized tours based on their interest, RSVP for events, and get more information about the exhibits in front of them. Pigeon is a flexible platform and can be customized to work for your museum. And because the platform takes advantage of low-cost Beacon technology, the app works offline as well! This means less data transmission costs for the museum and bigger savings for visitors when using this app outside their home territory. Click here find out how Pigeon can help your museum. Transcript Below is a transcript of Museum Archipelago episode 84. Museum Archipelago is produced for the ear and the only the audio of the episode is canonical. For more information on the people and ideas in the episode, refer to the links above. View Transcript [Intro] Over the past few weeks, near the empty pedestals of confederate figures that used to stand on Monument Avenue in Richmond, Virginia, a new type of historical marker started appearing. The markers have most of the trappings of a state-erected historical marker--etched letters and an iconic shape. But there is no official logo, just a bright sun icon at the top, text in the middle describing a past event, and at the bottom simply the words: History Is Illuminating. History is Illuminating: If you start looking at historic markers that were installed in the 60s, 70s, 80s across the South, not just in Virginia, but in states all across the South, they're so biasly worded and the subject matter is so biasly chosen. History Is Illuminating is a group of anonymous historians from the Richmond area who, as the confederate statues were being removed, decided to use the format of those historical markers as a medium to talk about the Black history taking place while those statues were erected as monuments to white supremacy. The anonymous historians started calling themselves rogue historians. History is Illuminating: “We have had a lot of discussions around this and we consider ourselves rogue because while all of our bosses appreciate what we're doing. A lot of the issues that come across in history are issues where the Lost Cause narrative was taught for so long in schools that talking about aspects that go against the Lost Cause narrative can often be divisive in our society, especially in the South. And I know personally for the organization I work for, I regularly receive phone calls or voicemails from people angry that we're talking about Black history or saying things along the lines of it's better just not to talk about it. We've actually had a couple of our signs defaced and we felt like it was safer for us as well as significant because the facts are what are important, not the historians that are coming forward. The Lost Cause narrative permeates museums, historical monuments, and textbooks in the United States. The narrative casts the cause of the confederacy as a just and noble one. The ideology has been used to perpetuate racism a racist power structures since the end of the Civil War. History is Illuminating: The Lost Cause narrative was actually invented here in Richmond, Virginia. There was a popularity of glorifying the battles and glorifying the nobility of what happened in the Civil War, rather than acknowledging the loss or acknowledging the essential part of slavery that was played out within the Civil War. The popularity of that concept just grew ridiculously and the United Daughters of the Confederacy joined in on this and popularized it across the South, putting it as the mainstream form of education within textbooks, as well as making monuments rise across the South. The Daughters of the Confederacy, actually not only rose monuments to the Confederacy, but they also actually rose a few monuments to the Klan. And one of the single densest and largest collections of confederate symbols was in Monument Avenue -- a grassy, purpose-built grand avenue in Richmond. The first monument erected was a statue of confederate general Robert E. Lee, which as of this recording is the only confederate monument still standing on the Avenue. When it was erected in 1890, there were no buildings around it. History is Illuminating: At the time it was constructed, you can actually see photographs to Google it that have pictures of the Robert E. Lee monument, surrounded by people working in cotton fields. The whole thing about monument Avenue that's so interesting is that Monument Avenue has been a street of walking tours. It has been a street of people coming and walking down and remembering a glorified past that was taught to them in their textbooks, in childhood, and many people from outside of the South come to Monument Avenue and are taken aback and gasp at how dramatic it is. It's these large, larger than life monuments set up on huge pedestals with marbles sculptures around them that seem like something from ancient Rome. With Jefferson Davis, giving his, ‘I quit the federal government’ speech and all of the symbolisms around him. And they also have quotes on that monument. There was a quote on that monument. There, it was, I forget the exact wording, but it goes on into detail talking about how he deserves these inalienable rights to pass on the legacies that he knew to his children. And this it's fascinating, the way that the sentence structure so often just falls short of a full sentence. The ideas just fall short of a full idea. The idea that we were fighting for states' rights, not the state right to own slaves. It's these half ideas that are not fully constructed that caused really short winded debates because there's not many talking points beyond the short ones. People were taught in school. It's just been really upsetting to everyone in our group. After years of pressure, on July 2nd, 2020, Richmond Mayor Levar Stoney announced the official removal of most of the confederate statues on Monument Ave. That’s when History is Illuiminating started. History is Illuminating: The way this initially came down was me and a friend who is the other lead organizer, were talking on the phone one night after Levar announced that the monuments were coming down and we said, this should happen. And we initially had just planned to write them ourselves and write them in with the yard signs. We were just going to keep replacing yard signs on Monument Avenue. And my partner in signs started talking to a few friends and they were really interested. And then I knew a couple of historians that we thought might be interested too. And we just kind of kept talking to people and everyone was like, this is what I've been wanting to be doing! The group of rogue historians continued to grow. They communicate by a text channel, bouncing ideas off each other. The group partnered with Studio Two Three, a local collective, feminist printmaking studio to print a Zine featuring the markers and a map of how to find them. History is Illuminating: So there's about 10 members in the group, they're all different races, genders, sexualities, ages, all of those different representations. And there are people in the group who wanted to participate in the signage and have no interest because they are way too busy to participate in social media or anything like that. I think it's important to just keep going back to everybody and saying, who wants to participate in this, or have an opinion and let us know if you think this is a good idea or not. The name History is Illuminating is meant to indicate that it is the act of studying history itself that can illuminate the present. I choose to read it as History Can Be Illuminating. To the extent that the statues that used to stand on Monument Avenue “teach” history when combined with tour guides, they teach the battle history and the aesthetics of quitting the federal government. That history has a lot of facts in it, but what might be more illuminating could be a discussion about the reasons of the war, or the backlash against Reconstruction. History is Illuminating: When I came to them and told them I wanted the name History is Illuminating, they were kind of taken aback and they were like, I don't know how people are going to feel about hearing history. The word history seems like a bad word so often. And it's so true that so often history has been manipulated and utilized to hold people down, which is so true in the Lost Cause narrative. The people in our group realized that working in history and listening to the people getting frustrated and angry, that if we take these monuments down without taking a moment to educate people about the larger picture of why these monuments are offensive to so many people and not simply the things that people are saying in their head, the one liners from history classes as children, once you start realizing these larger pictures and you start to realize that it is unjustifiable that they're still here in our communities or even if it is justifiable that they're still here, we need to be telling the whole story. The markers are created using a CNC machine which chisels the text and creates a convincing-looking historical marker. Members of History is Illuminating are quick to point out that the markers are not intended to be confused for an official marker, but they clearly evoke the medium. In episode 42 of Museum Archipelago, author and historian Freddi Williams Evans and activist Luther Gray describe their efforts to go through more official channels to erect historical markers in New Orleans, Louisiana. Like Richmond, there was plenty of commomentation going on in New Orleans, but like Richmond, there was almost nothing that acknowledged the city’s slave trading past or powerful backlash against Reconstruction. History is Illuminating’s approach demonstrates some of the advantages of bypassing the official channels: they can act quickly to comment on the changing situation on Monument Avenue. History is Illuminating: We did the signs in chronological order. And since the Monuments themselves are not in chronological order, it's a little weird, but it works out. We wanted to talk about Black history and what was occurring to Black people in the city of Richmond concurrently with what was happening as these monuments were raised surrounding the white history. So like the first sign is Dusk of Black Power, Dawn of Jim Crow, and it discusses members of the Virginia Black men who served in the Virginia general assembly between 1869 and 1890 and 1890 was the date this monument went up, and the first act of the 1889 elected Virginia Senate was to accept the Lee monument. Another marker erected by History Is Illuminating describes John Mitchell Jr, a business person and editor of the Richmond Planet, which was Richmond’s Black newspaper at the time, and quotes what he wrote on the occasion of the unveiling of the Robert E. Lee statue in 1890. History is Illuminating: John Mitchell Jr. wrote on the unveiling that “the South’s reverence for its former leaders slowed progress and forged heavier change with which to be bound.” And he also stated that, “Black men were here to see this monument raised and we'll be here to see it torn down.” It is also illuminating to realize that even within the history and museum fields, going rogue and staying anonymous can be the easiest ways to get something like this done. History is Illuminating: Trying to move forward in a way that everyone gets a little bit more education and understands the fuller picture. It's something that a lot of museum organizations, because they are held accountable by donors or grants or things like that often have to tiptoe around and are not able to just come out and say flatly and the idea of bringing some other discussions up within the community is unsettling to many people, even within the historic fields itself. There’s also a technological story here. It used to be that only civic institutions could raise the funds to make something like Monument Avenue. History is Illuminating: What's so interesting in the city of Richmond is actually just like how all of these monuments were written. Historically, the way that monument commissions work is somebody will say, “Oh, we need a monument for this person.” And someone in the monuments commission or someone involved in the city says, yes, yes, that's a great idea. Let's create a commission for that and they'll come together. And it's a lot of experts. It's not like they don't know what they're doing, but they'll all sit down in a circle and kind of say, “yes, just I am an academic and I work in museums or I work in public history or yada, yada, yada.” They think they know what is right for everybody. And then they'll go to Richmond city council or some whoever's community city council and say, we need X amount of dollars for this piece of public art in front of this building. And they'll say, “yes, yes, that sounds great.” And then they'll go and interview a bunch of artists and choose the piece of art. But at no point, is there actually -- and these are not elected officials -- at no point does the community actually get a say in the construction of it, this monument, which is exactly what happened all along Monument Avenue. Today, historians can go rogue because the tools of producing and erecting historical markers are relatively inexpensive. The technology to 3D print a convincing life-size statue of anyone or anything is right around the corner. Today, museums are expensive and require huge funding structures to start. But they won’t be forever: the tools of museum building at every level are posed to becom…

    Full show notes at the publisher

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