Congratulations 2024 Spring Research Grantees!

Please join us in congratulating OHMA/GSAS Research Grant recipients, Ananya Garg (2023), Clarissa Shane (2023), and Florencia Ruiz Mendoza (2022)!


Ananya Garg

Ananya Garg is completing her thesis project on chosen family networks in LGBTQ+ South Asian communities. She is conducting interviews with community members and leaders, and documenting important community gatherings. 

The project aims to provide a space to honor chosen family networks, as they are not recorded and valued in the same ways as blood family networks are. Additionally, the project seeks to offer a blueprint to future generations of queer and trans South Asian people on how to build chosen family networks for themselves.

Clarissa Shane

Clarissa Shane sitting in an Agave cultivation during fieldwork with wild plant medicine practitioners in Paredones, Michoacán, Mexico (their mother’s ancestral land).

Clarissa Shane will be focusing on plant medicine with the goal of capturing the cultural, traditional, and personal narratives of plant knowledge keepers. They intend to speak to women of diasporas who approach plant medicine healing as care work and as connection to their ancestral lands. They will be using the OHMA/GSAS grant to attend the Chacruna 2024 Plant Medicine Conference and to research various cultural ways of knowing wild plants.


Florencia Ruiz Mendoza

In Florencia’s project, “Voices from Wupatki,” several First Nations peoples reflect on their experiences and connections with Wupatki National Monument, an ancestral archaeological site in Arizona. Florencia will direct the totality of this grant to transcribe at least six hours of recording. The interviews represent cultural legacy because of their content, and having them transcribed will allow their dissemination to a broader audience. 

Faculty News Spring 2024

Catch up with our faculty!

After twelve years deeply engaged in teaching OHMA students, for the 2024-25 academic year OHMA Director Amy Starecheski will be on sabbatical leave. 

We are thrilled to announce that OHMA core faculty member Nyssa Chow will serve as Interim Director.

Nyssa Chow has been a beloved member of OHMA’s faculty since 2019, teaching courses on Multimedia Storytelling and our core Roots and Branches of Oral History course. She is also an OHMA alum — her thesis, an immersive literary oral history project, won the Jeffrey H. Brodsky Oral History Award. Her creative and teaching practices focus on the intersection of art and oral history; embodied knowledge and listening; and literary oral history.

Born and raised in Trinidad, she holds an MFA from Columbia University’s Film program in addition to her OHMA degree. She is a Visiting Scholar at the Council of the Humanities at Princeton University; she is the Lead Artist Facilitator for the 2021 and 2024 DocX Labs at The Center for Documentary Studies (CDS) at Duke University, co-created with Stephanie Owens and Martine Granby. She was the 2019-2021 Princeton Arts Fellow at the Lewis Center for the Arts and the 2018 recipient of the PEN/Jean Stein for Literary Oral History. Chow has collaborated with filmmakers and artists, most recently with Jennifer Wen Ma, on her exhibition ‘An Inward Sea’ for the New Britain Museum of Art. Her solo exhibition ‘Still. Life.’, a series of installations using sound, light, and assemblage, was held at Gallery One in Trinidad. Her artwork Trace: A Memorial was featured in the group exhibition ‘How We Remember’ (2021) at the Miriam and Ira D Wallach Art Gallery in New York City. Her work will be featured in ‘Re-collections’(2024), an upcoming exhibition hosted by The LatinX Project.  She has conducted oral histories on behalf of arts institutions such as the Archives of American Art, Smithsonian Institution.

Mott Haven resident Nieves Ayress sharing her stories at a Mott Haven Stories of Activism event

During her sabbatical year — with the support of a Community and Cultural Resilience Grant from the National Endowment for the Humanities and a Lecturer Professional Development Grant from Columbia University —  Amy will work with the Mott Haven History Keepers and other Bronx neighbors to learn more about ways of doing oral history that are not grounded in university spaces. As part of that research she will be the Anthropologist-in-Residence at the Bronx County Historical Society for the year. She will also spend time as a Visiting Scholar at Concordia University’s Centre for Oral History and Digital Storytelling, to learn more about how university-based oral history programs can be accountable to and engaged with broad constituencies, including students, faculty, and community members.

Completed projects

〰️

New books!

〰️

Completed projects 〰️ New books! 〰️

Sara Sinclair, who teaches our Indigenous Oral Traditions and Anti-Colonial Oral Histories course, just completed work in her role as Director of the Aryeh Neier Oral History Project for Columbia’s Center for Oral History Research. Her  work on the project included a 12 session interview with Aryeh Neier himself, which comprises over 400 pages of his reminiscences. 
In addition, “You Were Made for this World,” an Indigenous authored anthology of letters for young people, that she co-edited with her sister Stephanie, will be coming out July 29, 2024 (Tundra/Penguin Random House) - stay tuned!

Nicki Pombier, who co-teaches our Serious Play: Oral History and the Art of Story class, is a collaborating artist on File/Life, which has received the 2024 Large Institution Award: Honorable Mention from the National Council on Public History and The Kimmel Family Accessible Experience Award, presented by Art-Reach. File/Life is a community-led creative exploration of the Pennhurst archives by seven archivists, all people with disabilities and/or family members, including two former Pennhurst residents. These community archivists share stories that made them listen, feel, imagine, and remember. In doing so, they ask the question: Can a file ever contain a life?

File/Life is now installed in its third location, in the Helix Gallery at Thomas Jefferson University, where they're working with a group of medical humanities students to plan forthcoming public programming. Details here.

 

Read More from OHMA Blog:

Congratulations 2023 Research Grantees!

Please join us in congratulating OHMA/GSAS Research Grant receipients, Christine Stoddard (2023) and Maya Gayer (2023)!


Christine Stoddard

Adriana Ascencio, a Salvadoran-American actress, holds a paper pulp mask that Christine made for her play "Mi Abuela, Queen of Nightmares" at The Tank in New York City. This was one of the costume pieces that Adriana used while performing in the play. The photo was taken at the end of the third interview Adriana and Christine completed this fall.

Christine Stoddard will be doing research related to women of the Salvadoran diaspora, with trips scheduled for Mexico, Washington, D.C., Los Angeles, and El Salvador. In addition to filming interviews, she will be visiting and photographing archives, museums, and archeological sites related to El Salvador's civil war, the Indigenous people of Central America, and contemporary cultural production by Salvadoran-Americans. This includes Proyecto Laberinto near Santa Ana, El Salvador and Casa Lü in Mexico City, both artist residencies.


Maya Gayer

Photo by Amnon Horesh.

Maya’s thesis project focuses on building an oral history archive of Israel’s Democracy Protest Movement. Active since January 2023 in an attempt to stop the judicial overhaul led by the Israeli right-wing government, this is the largest protest movement in the country’s history and one of the most persistent in recent global history.

The archive’s aim is to serve as a public knowledge resource for scholars and activists across the world fighting against democratic deterioration and the rise of populism, and for future Israeli generations.

Seeking OHMA Teaching Artist for 2022-23

The Oral History Master of Arts Program at Columbia University is seeking a Teaching Artist to join our faculty team for the 2022-23 academic year.

The Teaching Artist will work closely with our faculty and students throughout the year. In the Fall semester they will curate and host our Oral History Thursdays public programming series (4 events), in which they will also be invited to present their work. In the Spring semester, they will teach a course on multimedia storytelling, work with OHMA’s Director to curate our end-of-year exhibit, and teach one of our signature online public training workshops. During the spring and summer, they will advise a group of up to five students on their thesis work. Compensation is $20,000.

Read more about our faculty, students, and existing courses: http://oralhistory.columbia.edu/

Qualifications:

·  Experience teaching, ideally with diverse groups of graduate or advanced undergraduate students.

·  Active creative practice.

·  Knowledge of oral history, storytelling, multimedia production, documentary arts, or related fields.

·  Practitioners from backgrounds historically marginalized in the field are particularly encouraged to apply, including Black, Indigenous, and other people of color.

·  Advanced degree required.

·  Must be able to teach in person in New York City.

To apply:

For the first stage of this process, please send a cover letter, CV, and sample of your creative work to ohma@columbia.edu by July 5, 2022, with the subject heading “Teaching Artist.” 

In your cover letter, include brief descriptions of

·  how you would conceptualize and structure a 14 week multimedia storytelling course

·  your approach to and experience with teaching and creating inclusive learning communities

·  some ideas for how you might curate a 4-event public programming series for us in the Fall

·  a description of your own creative practice and how it relates to our work in oral history

In Solidarity: A Statement from OHMA

The racist killings of Ahmaud Arbery, George Floyd, Breonna Taylor and now Rayshard Brooks, coming on top of 400 years of oppression and state-sanctioned violence against Black people in North America, fill us with grief and rage. While the historic uprising of the past weeks has been inspiring, exciting, and challenging, we know, and we are reminded, that the work of dismantling white supremacy is hard and it will be long. As we support and join with New York and global protests that challenge policing and systemic racism, we know there is also work for us to do from within a predominantly white, elite institution. I know this personally as a white person in a position of leadership.

Every fall I teach a class on doing oral history from an anti-oppression perspective to our new cohort. We talk about how this work has to happen both in our practices as oral historians, and in our work to develop the field of oral history. We talk about how, in our interviews, we have to ask white people about race, and not bolster the assumption of whiteness as a neutral identity. We talk about how it is not enough for our institutions to “welcome diversity” – we need to change so that we are no longer white institutions that welcome in people of color, but are truly led by people of color in ways that transform our work. All of this talk is important – as oral historians we know that listening and speaking can be transformative - and we do some work to back it up, but we see this moment as an opportunity to do more.

In the past few weeks I have been pondering how OHMA can deepen our work to challenge structural oppression, and white supremacy and anti-Black racism in particular. I asked myself, and our community, “What do we have, and what can we do?” With the support of our faculty and staff, I am sharing the following plans and thoughts:

We have authority, as one of the oldest and largest oral history programs in the world, and as an Ivy League institution. We recognize that privilege, even as we seek to undermine it. We can use that authority to challenge what counts as oral history, to lift up the voices of Black, Indigenous, and people of color (BIPOC) oral historians. In our syllabi and in our public programming, we commit to continuing and intensifying our work to center the ideas, practices and writing of Black, people of color, and Indigenous oral historians.

The majority of our students, the speakers in our Thursday evening public programming series and the instructors in our Saturday workshops are BIPOC. We direct most of our financial aid to BIPOC students. This is intentional, and we pledge to continue it.

Some of our syllabi, including mine, too much reflect the overall predominance of white voices in the oral history literature. We can and will do better. Over the summer, we will be working to center the knowledge of BIPOC more in our syllabi.

We have a space to think. The training, experiences and identities of the people facilitating those spaces in our classrooms will shape the conversations we have.

Our faculty has not represented the diversity of our world, or of our student body. We have to do better. For the 2020-21 academic year we are thrilled to welcome Sara Sinclair and Zaheer Ali to our faculty. Sara will be teaching Indigenous Oral Traditions and Anti-colonial Oral Histories and Zaheer will be teaching Listening After the Interview: Oral History as Archive & Historical Method.

As a team, our faculty and staff will be participating in an anti-oppression training this summer, with a particular focus on understanding and fighting anti-Black racism. We will work as a group to develop shared strategies across our classes so that our incredibly diverse students can learn from and with each other. We must be able to vigorously challenge each other and open ourselves to receiving such challenges while also not allowing microaggressions and other expressions of white supremacy and structural oppression in our classes.

We are teachers. It has been an extraordinary experience for us during this pandemic to take our public training workshops online, and see the large global audiences we have been able to serve and connect with.

This summer, we will be offering a free, public training series sharing a range of decolonized and anti-oppression approaches to doing oral history work. Donations will be welcomed, and anything we raise beyond the cost of paying the instructors will go to a grant for an incoming Black student. Stay tuned for registration info for these later this month.

We have a community. On our student and alumni listserv some of us have been sharing how we are contributing to the work of challenging white supremacy, from protesting in the streets to organizing in our communities to having difficult conversations with family members. This has been inspiring.

For many in the OHMA community, the work of dismantling structural oppression and decolonizing our world has been and will continue to be central to our work. We invite you to check out some of these projects.

As a program, we commit to supporting spaces for Black, Indigenous and people of color staff, students and faculty to convene and build community amongst themselves, in whatever configurations and for whatever purposes they find most useful. As a leader, I welcome and commit to listening carefully to any ideas, requests, and critiques that come out of these spaces. We also commit to an expectation that white students also take responsibility for this shared work

As oral historians, our work is to listen. We understand that dialogue itself can be a site where power is grappled with and contested. As educators, we create supportive spaces where we can all be challenged to take risks, to grow, and to change. We pledge to use these skills and our resources to engage actively in the long, hard, essential work of undoing white supremacy and colonialism, and challenging all forms of structural oppression.

Black Lives Matter!

In solidarity,

Amy Starecheski

Alessandro Portelli and Barbara Dane: Records of resistance

In this post part-time OHMA student Bud Kliment examines the relationship of folk music to oral history through the intersecting careers of Alessandro Portelli and Barbara Dane, occasioned by the release of Dane’s retrospective Hot Jazz, Cool Blues and Hard-Hitting Songs on Smithsonian Folkways.

Read More