The public humanities program emphases the relationship of theory and practice. Rather than writing a thesis, students undertake two practicums where we connect knowledge learned in the classroom to practice in a professional setting, and reflect critically on these experiences with our academic peers. Practicums allow us to enhance our skills as well to connect to the field.
Mapping Arts Project: Providence maps the city by locating the black artists who worked in the city. It combines digital technology, university archives, and community partnerships to make historical knowledge accessible and interesting.
Keila Davis: Presenting at the Mapping Arts Event on April 16.
The Westport (Massachusetts) Historical Society asked for our help with their newly acquired 1710 Cadman-White-Handy House. How might they use it as “a cultural hub around which the community can reconnect to its heritage”?
Students in the “Shrine, House, or Home: Rethinking the House Museum Paradigm” course took on the challenge. Molly Kerker, a student in the Public Humanities MA program, was a member of that class. I asked her about this experience.
What was the most challenging aspect of coming up with a plan to interpret the Handy House?
Archivists, arts administrators, art teachers, communications managers, consultants, cultural planners, curators, development writers, interpretive guides, marketing coordinators, museum curators and educators, nonprofit business managers, oyster farmers.
Education, interpretation, research, and administration.
Cities, historic sites, museums, parks, and universities.
"If I could tell you what it meant, there would be no point in dancing it.” - Isadora Duncan... I like to think of myself as culturally literate. I work in the arts, I can drop the odd Shakespeare quote in conversation, and I can tell abstract expressionism from Dadaism. But when I began working with American Dance Legacy Initiative (ADLI) I realized how illiterate I was when it came to dance.
Claims of authenticity or ownership relate to power and impact all of the work we do in the public humanities. Who owns what? Who gets to speak for whom, and when? Commemoration and representation, the use of social media, heritage, sites of conscience, public art: all of these areas of work are classed, raced and gendered and they all rely on claims to power and the propagation of dominant stories. Yet it is important to understand that even working to tell the hidden, invisible or resistance narratives can be troubled.