OHMA student Desmond Austin-Miller reflects on Michael Roberson’s contribution to the Fall Workshop Series, A History of Echoes, Pt. 2: Sound of Trans Freedom and the influence Roberson left on him as a Black academic.
Read MoreMusic lesson: notes on doing a public interview
Bud Kliment, a part-time OHMA student, reflects on his recent conversation with composer Julia Wolfe, and some of the challenges (and benefits) of conducting a public interview.
Read MoreFrom an act of listening to embodiment - a further step in the path of compassion
Image by Laura Summer
In this post, OHMA student Yiyi Zhang (2017) reflects on E. Patrick Johnson’s performative approach to story-telling and its relation to understanding and compassion between people.
Read MoreRepresentation Matters
OHMA student Samantha Lombard (2018) reflects on E. Patrick Johnson’s theatrical representation of his narrators from oral history interviews he conducted as part of research for his book, Sweet Tea: Black Gay Men of the South – An Oral History.
Read MoreAn Oral History Toolbox: a methodology for immersive ethnography
In this post, Oral History Masters Student Alissa Funderburk discusses the methodology of self-interrogation mentioned by E. Patrick Johnson, oral historian and Carlos Montezuma Professor of Performance Studies at Northwestern University, in his recent talk for the OHMA Oral History and the Arts Workshop series.
Read MoreThe Sincerity of Sound
Nutmeg Harvest Baskets, Image from Nyssa Chow’s Still Life
In this post, OHMA student Elyse Blennerhassett (2017) reflects on Robert Sember’s approach to sound. Born under apartheid South Africa, Sember moved to the United States in the 80s to become a prominent activist in social movements relating to health, sexual, gender, racial, and class inequalities.
Read MoreBorn in Struggle: Ultra-red’s Activist Oral History Approach
image credit © ultra-red
In this post, OHMA student Holly Werner-Thomas (2017) considers the theme of struggle in the life and work of Robert Sember, who 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.
Read MoreA Means to an Endeavor
Stills from Michael Roberson on the Ballroom Freedom School by Shawn Van Sluys on Vimeo.
Current OHMA student Carlin Zia reflects on her experience of the penultimate workshop in our fall series—Michael Roberson’s A History of Echoes, Pt. 2: Sound of Trans Freedom—and shares how the event influences her own approach to oral history.
Read MoreMichael Roberson and Ballroom: The Trans Sound of Black Freedom
In this post, OHMA student Lynn Lewis (2017) describes a recent workshop with Ultra-Red member Michael Roberson. Roberson is a public health practitioner, advocate, activist and leader within the LGBTQ community who created the Federation of Ballroom Houses, and co-created the National Black Gay Men's Advocacy Group.
Read More“Moving Between” Works in Public Health and as an Artist
Image from Public Listening Session, held within Vogue'ology 2010 exhibition. Event lead by Robert Sember
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.
Read MoreReview: “The B-Side: ‘Negro Folklore From Texas State Prisons’ A Record Album Interpretation"
In this post, part-time OHMA student Bud Kliment reviews “The B-Side: ‘Negro Folklore in Texas Prisons’ A Record Album Interpretation’” a performance piece of musical theater and oral history based on the 1965 LP “Negro Folklore from Texas State Prisons.”
Read MoreFind Your People: Dispatch about the 2017 Oral History Association Conference
From left to right: Jess Lamar Reece Holler, Kimber Thomas, Danielle Dulken, Rachel Gelfand and Fanny García after their workshop, "Orality, Affective Power, and Activism: Making Oral History Art" at the 2017 Oral History Association Annual Meeting in Minneapolis, Minnesota.
In this post OHMA alum Fanny Julissa García (2016) discusses her experience at the recent 2017 Oral History Association Conference in comparison to her first visit to the conference in 2016, and her collaboration on a panel about making oral history into art.
Read MoreBelonging: How a Young Man Finds his Place in Examining Fragmented Space
In this post OHMA student Alissa Funderburk (2017-2018) introduces the second Future Voices Fellow, Desmond Austin Miller. Alissa recently conducted a one-on-one interview with Desmond to learn more about her classmate’s life, education, work, and research interests.
Read MoreKnowing Your Place: Proving a Woman Belongs Everywhere She Can Make a Difference
In this post OHMA student Alissa Funderburk (2017-2018) introduces Future Voices Fellow, Lynn Lewis. Alissa recently sat down for a one-on-one interview at Lynn’s home. Below she uses Lynn’s life story and inspirations to understand her work and academic interests.
Read MoreWhat We Talk About When We Talk About History
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.
Read MoreThe Utopia of Europe
"lampedusa" (CC BY 2.0) by noborder network.
Alliance for Historical Dialogue and Accountability fellow Lura Limani reflects on what stories of migrants, as collected by Professor Luisa Passerini’s Bodies Across Borders in Europe project, can teach us about European identity.
Read MoreRecognition of Multi-Truth in an era of Post-Truth
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.”
Read MoreThe Identity of an Oral Historian
In this post, current OHMA student Shira Hudson reflects on how Mi’Jan Celie Tho-Biaz’s lecture inspired her to consider what it means to identify as an oral historian.
Read MoreFirst, Take Care of Yourself Thoughts on Storytelling and Wellness
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.
Read MoreI Don’t Need to Be the Expert of All Those Other Things
Photo credit: Ali Lapetina
Shot onsite during 2017 Burnside Farm artist residency in Detroit, Michigan (with permission/gratitude to Kate Daughdrill, Burnside Farm founder).
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.
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