If we want the humanities to be more than academic—if we want them to make a difference in the world—we need to change the way we work. We need to rethink some of the traditional assumptions of the humanities. I suggest here seven rules of thumb for doing public humanities.
(Distributed August 29, 2014)
Program Series Launching in September 2014: Bringing Guantánamo Home
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.
As part of the university’s 250th anniversary, a group of Public Humanities students, faculty, and collaborators are giving new life to a piece of Brown’s history. Christened ‘The Jenks Society for Lost Museums’, the group is tracking down remaining objects, remaking specimens, and researching the Jenks Museum of Natural History and Anthropology’s history.