In this post, OHMA student Yameng Xia (2017) considers Robert Sember’s work in public health and his work as an artist based on his work and an interview she conducted. Robert Sember is an Assistant Professor of Interdisciplinary Arts at the New School’s Eugene Lang College, and a member of the international sound-art collective, Ultra-red.
In this post, Rachel Unkovic, member of the 2016 cohort, talks about why oral historians have a unique role to play in amplifying and signal boosting marginalized voices to enable "history" and communal memory to be appropriately critiqued.
In this post, OHMA student Tomoko Kubota (2017) explores how we can make meaning of oral history in an era of Post-Truth. This article is the first in a three-part series exploring Dr. Luisa Passerini’s recent OHMA Workshop Series lecture, “Interviewing Artists: Intersubjectivity and Visuality.”
In this post, Robin Weinberg, member of the 2016 cohort, talks about how we, as story collectors, oral historians and engaged listeners, need to make sure we have an toolbox of techniques to take care of ourselves.
In this post OHMA student Elly Kalfus (2017-2018) discusses how Mi’Jan Celie Tho-Biaz’s approach to designing and facilitating oral history storytelling events led her to a deeper understanding of the value of collaboration and humility.
Oral history is an art. The practice of oral history is creative -- in interviews we make narratives together with our interviewees, imagining worlds, telling stories, creating characters. Oral history can also be used to document the arts, to tell the stories of painters and dancers and actors and writers and the worlds they live in. And the arts are a powerful means to amplify and interpret oral histories, transforming them into literary narratives, building theater or music or dance performances from them, using them to create documentaries. This year, we will explore all of these many intersections of oral history and the arts, asking what unique contributions an oral history approach can make to artistic practice, and how oral history can help us to think about art and its role in the world.
In this post, current OHMA student Monica Liuting (2016) reflects how Terrell Frazier uses oral history interviews to frame personal experiences in political expressions. This article is the last in a four-part series exploring Terrell’s recent OHMA Workshop Series lecture, “Becoming an Organizer: Narrative, Identity and Social Action.”
In this piece, Nialah Edari discusses how Terrell Frazier’s work contrasts the ways in which we contextualize sociology and oral history by looking at how he applies both approaches in his assessment of the participants within his research. This article is the last in a three-part series exploring Terrell’s recent OHMA Workshop Series lecture, “Becoming an Organizer: Narrative, Identity and Social Action.”
In this post, Brian Sarfo explores how Terrell Frazier's work situates the importance of relationships and humanizing the organizer through sociology and oral history. This article is the first in a three-part series exploring Terrell Frazier’s recent OHMA Workshop Series lecture, “Becoming an Organizer: Narrative, Identity and Social Action.”
In this post, OHMA student Elyse Blennerhassett (2016) discusses how Dr. Leslie Robertson’s community-generated and collaborative methodologies inform her own practice in working with communities who are politically marginalized and stigmatized in the criminal justice system. This article is the first in a two-part series exploring Dr. Robertson’s recent OHMA Workshop Series lecture, “Devalued Subjectivities: Disciplines, Voices and Publics.”
In this post, Heather Michael shares insight from an OHMA Workshop Series presentation by Dr. Mindy Fullilove on her work on situation analysis. Heather explores how Dr. Fullilove’s work illustrates what it means to research through interdisciplinary approaches and raises questions for future researchers to consider.
In this post, Chinonye Alma Otuonye explores the dialogic space as a mechanism towards a human understanding of the self and history. She reflects on the ways John Kuo Wei Tchen—NYU professor, historian, and curator—decolonizes both space and history within and through his work.
This article is the first in a three-part series exploring Tchen’s recent OHMA Workshop Series lecture, “Below the Grid.”
This article is the third and final in a three-part series examining the Brooklyn Historical Society’s ongoing oral history project “Voices of Crown Heights.” In this post, current OHMA student Meave Sheehan (2016) looks at what it means to “live” a public policy and how oral history can be used to uncover both noticeable and more subtle changes over time.
This article is the second in a three-part series examining the Brooklyn Historical Society’s ongoing oral history project “Voices of Crown Heights.” In this piece, current OHMA student Rachel Unkovic (2016) focuses on how oral history can illuminate (rather than obfuscate) historical narrative even in times of confusion and conflicting ideas.
This article is the first in a three-part series examining the Brooklyn Historical Society’s ongoing oral history project “Voices of Crown Heights.” In this post, current OHMA student Dina Asfaha (2016) writes that Zaheer Ali's project is a prime example of the need for oral history in understanding society. She proposes that Ali does an exemplary job of situating people's narratives in their respective historical contexts and putting those narratives in conversation with one another in order to deduce conclusions about how gentrification in Crown Heights can be understood today.
Earlier this fall, OHMA students Emma Courtland (2016) and Robin Miniter (2016) met in a third story apartment in Hamilton Heights to “narrate their photos.” Using a modification of the methods used by artist and urbanist Gabrielle Bendiner-Viani to put walking tours, photography, and memory in conversation about the experience of gentrification in Prospect Heights, Courtland and Miniter planned to use photography and oral history to explore their changing relationships to the city. They then visited the places depicted in their photos. This is the story of one of those photos.
In this post, current OHMA BA/MA student Rozanne Gooding Silverwood (2015) reflects on the art of transcription and offers her perspective on how the NYPL Community Oral History Project might increase the enlistment of volunteer transcribers by educating prospective participants about the literary history and aesthetic value of rendering the spoken word to text.