Cover
Introduction
1. What is public history?
2. The compass of the Companion
3. Beginnings and endings
4. Looking ahead
Prologue
Part I: Identifying Public History
1. Chapter One: Complicating Origin Stories
  1. What’s in a name?
  2. The early landscape of professional training
  3. The seminar in historical administration
  4. The AASLH education program, 1967 – circa 1985
  5. Merging practice and scholarship
  6. Forging public history into an academic field
  7. Summing up
2. Chapter Two: Where Is Public History?
  1. Introduction
  2. Questions from a worker who reads …
  3. Traces in the landscape
  4. Musée des Beaux Arts and Bruegel’s “Landscape with the Fall of Icarus”
  5. Artists remembering slavery in the Lancaster and London landscape
  6. Stumbling across the past in Germany
  7. Political pasts and artistic representation in contemporary life
  8. Social knowledge on the internet
  9. Conclusion
3. Chapter Three: Consuming Public History
  1. The film
  2. Reviews and responses
  3. Conclusion
4. Chapter Four: Historians on the Inside
  1. A history gap?
  2. The affinity of history and policy
  3. The “history office” and other models
Part II: Situating Public History
1. Chapter Five: Nation, Difference, Experience
  1. Constructing the museum
  2. Critique and response
  3. Reconceptualizing the past
  4. Objects and visitors
  5. Localizing history
  6. Representing experience
  7. Performing difference
  8. Conclusion
2. Chapter Six: Archive Fever, Ghostly Histories
  1. Making history, after the archive
  2. On turns and turnings
3. Chapter Seven: Digital Public History
  1. Digital history, or history in the digital era?
  2. More “digital history” than “digital humanities”
  3. Web 2.0 and crowdsourcing
  4. Mediating between individual and collective memories
  5. International digital public history: Local, global, glocal
4. Chapter Eight: Popularizing the Past through Graphic Novels
  1. Perceptions of public history: Process and experiences
  2. Graphic novels: presenting the past and “doing” history
5. Chapter Nine: Becoming a Center
  1. Assembly and bureaucracy in the nineteenth century
  2. Continuity and transitions in the early twentieth century
  3. Conclusion
Part III: Doing Public History
1. Chapter Ten: Looking the Tiger in the Eye
  1. Context and background
  2. Project design and public history pedagogy
  3. History, oral history, and storytelling
  4. The challenges of practicing public history
2. Chapter Eleven: Storytelling, Bertolt Brecht, and the Illusions of Disciplinary History
  1. Fourth wall conventions
  2. The place and meaning of stories
  3. Storytelling and public history
  4. Conclusion
3. Chapter Twelve: Genealogy and Family History
  1. The growth of family history
  2. The impact of television on family history
  3. Motivations
  4. Family historians as new social historians
  5. The Amateur/Professional divide
  6. Gender and family history
  7. The political uses of family history
  8. Conclusion
4. Chapter Thirteen: The Power of Things
  1. Objects, subjects, things
  2. Object agency
  3. Object potentialities
  4. Potentiality in public history and the museum
5. Chapter Fourteen: An Unfinished Story
  1. In place of a preface
  2. A national tragedy?
  3. The subjects of the constructed memorial complex
  4. Who are our fathers?
  5. If a memorial opens, does that mean it is needed by someone for something?
Part IV: Using Public History
1. Chapter Fifteen: Colonialism Revisited
2. Chapter Sixteen: Repatriation
3. Chapter Seventeen: The Transformative Power of Memory
  1. Introduction
  2. Excerpt from what we have learned: Principles of truth and reconciliation
  3. References
4. Chapter Eighteen: Sophiatown and the Politics of Commemoration
  1. Heritage and the past in contemporary South Africa
  2. The Sophiatown project
  3. Representivity, authenticity, and whose history?
  4. Modes of participation and the dynamics of power
  5. Conclusion
5. Chapter Nineteen: Tourism and Heritage Sites of the Atlantic Slave Trade and Slavery
  1. Slave trade tourism in West Africa
  2. Slave trade and slavery tourism in Brazil and the United States
  3. Conclusion
Part V: Preserving Public History
1. Chapter Twenty: Material Culture as History
  1. Introduction
  2. Narrating the material past as heritage
  3. Colonialism or coloniality?
  4. Alternative narratives and knowledge orders
  5. Conclusion
2. Chapter Twenty One: Preservation and Heritage
  1. Introduction
  2. Traditional architecture in the Gulf region
  3. The location and topography of Al‐Jazeera al‐Hamra
  4. Conclusion
  5. Further reading
3. Chapter Twenty Two: Centennial Dilemmas
  1. Maintenance and other backlogs
  2. Mission creep
  3. NPS exceptionalism
  4. Sidebar: Appomattox Courthouse National Historical Park
4. Chapter Twenty Three: Preserving Public History
  1. Why and how historic houses have become museums
  2. Access to heritage
  3. Are there too many house museums?
  4. The future of house museums
  5. House museums in contemporary history/heritage practice
5. Chapter Twenty Four: Placing the Photograph
  1. Retaking the picture in place
  2. Augmenting place
  3. Placing memory
  4. Conclusion
  5. Epilogue: Pictured pasts
Part VI: Performing Public History
1. Chapter Twenty Five: Reenacting and Reimagining the Past
  1. Historical pageantry
  2. Ethnic masquerades
  3. Ethnographic spectacles
  4. Open‐air museums
  5. Living history museums
  6. Reenactment
  7. Conclusion
2. Chapter Twenty Six: Reenacting the Stone Age
  1. Introduction
  2. Conclusion
3. Chapter Twenty Seven: Performing Continuity, Performing Belonging
  1. The Hofer Cabaret
  2. Purimspiel
4. Chapter Twenty Eight: Performing History
  1. Jongos and Quilombos: Public policies and politics of the past
  2. Performing history: The memory of slavery in the cases of Bracuhy and among the jongo performers of Pinheiral
  3. Conclusion: public history and the duty of remembrance in Brazil’s slaveholding southeast
5. Chapter Twenty Nine: Video Games as Participatory Public History
  1. Debating the simulation of history in the forums
  2. Developing personal rules of play and modding the game
Part VII: Contesting Public History
1. Chapter Thirty: Public Historians and Conflicting Memories in Northern Ireland
  1. Historians and public memories: An ambiguous relationship
  2. Commemorations, celebrations, and conflicting memories
  3. Public history as peacemaking
  4. Public history and the creation of cultural spaces of dialogue
  5. History of the difficult past: Acknowledging the victims
  6. Historians’ relations with local communities
  7. Common historical narratives
  8. Conclusion
2. Chapter Thirty One: Trauma and Memory
  1. Memory and trauma in the aftermath of war
  2. Politics of protesting disappearances
  3. Conclusion: Trauma time and linear temporality
3. Chapter Thirty Two: Museums and National History in Conflict
  1. Introduction
  2. The 228 incident, 1947
  3. The White Terror, 1949–1992
  4. The establishment of memorial museums in Taiwan
  5. The management and naming of museums
  6. Human rights versus contemporary art? A battle of remembering
  7. The controversy over the new permanent exhibit at the Taipei 228 Memorial Museum
  8. Beyond commemoration: The museum as a site of countering social amnesia
4. Chapter Thirty Three: Between Public History and History Education
  1. Introduction
  2. Similarities and differences
  3. Interactions
  4. Conclusion
5. Chapter Thirty Four: Labeling History
  1. The Quality Turn and origin stories
  2. Imbros to Gökçeada: The making of a settler island
  3. Traditional tensions: Locating the olive in history
  4. Branding and labeling: Marketing the producer
  5. Conclusion
Epilogue: To Put Your Signature: Tanzania’s Graffiti Movement
Bibliography
Index
End User License Agreement

List of Illustrations

Chapter 02
1. Figure 2.1 Corso Vittorio.
2. Figure 2.2 Scratched words on Croick Church.
3. Figure 2.3 Gilt of Cain.
4. Figure 2.4 Stolpersteine (Stumbling Stones), Vienna.
Chapter 05
1. Figure 5.1 National Museum of Australia, 2005.
2. Figure 5.2 Entrance to the Journeys gallery, National Museum of Australia, 2009.
3. Figure 5.3 View into the Landmarks gallery, National Museum of Australia, 2011. Showing the Colonial Foundations module running along the mezzanine and visitors exploring part of the Sydney and Hobart exhibits in the foreground.
4. Figure 5.4 Carmello Mirabelli exhibit, Journeys gallery, 2009. National Museum of Australia.
5. Figure 5.5 Sunshine exhibit, Landmarks gallery, National Museum of Australia, 2011.
Chapter 06
1. Figure 6.1 Oliver Bendorf, “Do You Suffer from Archive Fever?” There’s something irreducibly comic to the English English‐language reader about the idea of ‘archive fever.’ In English English ‘fever’ is an archaism: only modern babies have fevers, medically speaking. The ridiculous image of a historian suffering from a fever in or about or thinking about an archive was the foundation of Dust (Steedman, 2001); the comic potential of the term certainly isn’t lost on Oliver Bendorf.
2. Figure 6.2 “The Leader of the Luddites.” British Museum.
3. Figure 6.3 “Stockingmaker.” Print from the Book of Trades, or Library of the Useful Arts, 1805. Picture Collection, The New York Public Library, Astor, Lenox and Tilden Foundations.
Chapter 09
1. Figure 9.1 National Capital Commission, “Discover Confederation Boulevard.”
Chapter 10
1. Figure 10.1 Rama Lakshmi with students at the Fort discussing the docent walk, October 2012.
2. Figure 10.2 Students interact with local residents during the Fort walk, October 2012.
3. Figure 10.3 The shadow puppets depicting the attack on the Bangalore Fort in 1791, October 2012.
Chapter 13
1. Figure 13.1 Watch, Benjamin Hill (movement) c. 1650–1660. London. Victoria and Albert Museum.
2. Figure 13.2 The Gartree Giant, Burton Overy, Leicestershire.
Chapter 14
1. Figure 14.1 Monument to Soviet Repression (foreground) and Urkun Memorial (background), Ata Beyit National Memorial Complex, Chong Tash, Kyrgyztan.
2. Figure 14.2 Trends over Time in Media Publications About Ata‐Beyit (author generated).
Chapter 21
1. Figure 21.1 The region of Al‐Jazeera al‐Hamra in the UAE.
2. Figure 21.2 Al‐Jazeera al‐Hamra General View.
3. Figure 21.3 Al‐Jazeera al‐Hamra Building Exteriors.
4. Figure 21.4 Al‐Jazeera al‐Hamra Decorative Elements.
5. Figure 21.5 Al‐Jazeera al‐Hamra Roof.
6. Figure 21.6 Al‐Jazeera al‐Hamar Mosque.
Chapter 22
1. Figure 22.1 Chained Circles. National Park Service Themes and Concepts Venn Diagram (author generated).
Chapter 24
1. Figure 24.1 The author’s hand, holding a 1980 photographic print of his family. “Jimmy” Opp is pictured second from left. Composite digital image, October 2015.
2. Figure 24.2 Screenshot showing a then and now photographic overlay of San Francisco, 1941 and 2016. In the historical photograph, sandbags are piled against the Home Telephone Building to protect against possible air raids. A mixture of people mingle on the streets from both 1941 and 2016 when the slider, visible in the upper right hand corner, is in transition between the “then” and the “now.” David Levene, photographer; Jim Powell, picture editor, “San Francisco, then and now,” from The Guardian’s Photography then and now online series.
3. Figure 24.3 Screenshot from Rideau Timescapes App. Each pin on the map interface represents one or more historical photographs.
4. Figure 24.4 Screenshot from Rideau Timescapes App. The layered historical photographs show the change of the landscape over time, or by pressing the camera button, compare the historical image with the present surroundings.
5. Figure 24.5 Detail of screenshot from DearPhotograph.com. Posted January 10, 2012.
6. Figure 24.6 Detail of screenshot from DearPhotograph.com. Posted June 29, 2013.
Chapter 26
1. Figure 26.1 Caspar David Friedrich, A Walk at Dusk (c. 1830–1835). Oil on Canvas. Getty Museum.
Chapter 27
1. Figure 27.1 The Partition of Czechoslovakia 1939.
2. Figure 27.2 Page from the script of Laugh With Us.
3. Figure 27.3 Comedy about a Trap Production.
Chapter 28
1. Figure 28.1 The Jongo Circle of the Quilombo São José.
Chapter 32
1. Figure 32.1 The Taipei 228 Memorial Museum is housed in a renovated historical building.
2. Figure 32.2 Wen‐fu Yu, Beyond the Wall, comprising of bamboo skewers with doves, symbolizes the longing for hope, freedom, and peace.
3. Figure 32.3 Yu invited survivors of White Terror to disassemble his artwork together.
Chapter 34
1. Figure 34.1 Map of Imbros.
2. Figure 34.2 Adatepe Olive Oil Label (detail).
3. Figure 34.3 Olives and olive oil at a sidewalk stand.

BLACKWELL COMPANIONS TO WORLD HISTORY

This series provides sophisticated and authoritative overviews of the scholarship that has shaped our current understanding of the world's past. Each volume comprises between 25 and 40 essays written by individual scholars within their area of specialization. The aim of each contribution is to synthesize the current state of scholarship from a variety of historical perspectives and to provide a statement on where the field is heading. The essays are written in a clear, provocative, and lively manner, designed for an international audience of scholars, students, and general readers.

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A Companion to Public History
Edited by David Dean

This edition first published 2018
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Library of Congress Cataloging‐in‐Publication Data

Names: Dean, D. M. (David M.), editor.
Title: A companion to public history / edited by David Dean.
Description: 1 edition. | Hoboken, NJ : Wiley, 2018. | Includes bibliographical references and index. |
Identifiers: LCCN 2017041634 (print) | LCCN 2017049813 (ebook) | ISBN 9781118508916 (pdf) | ISBN 9781118508923 (epub) | ISBN 9781118508947 (cloth)
Subjects: LCSH: Public history.
Classification: LCC D16.163 (ebook) | LCC D16.163 .C65 2018 (print) | DDC 900–dc23
LC record available at https://lccn.loc.gov/2017041634

Cover Image: © Photo Amsterdam Museum, Monique Vermeulen, Orphanage cabinets
Cover Design: Wiley

List of Illustrations

Cover:

Orphanage Cabinets, Amsterdam Museum. Photo: Amsterdam Museum.

Prologue:

Courtyard and Orphanage Cabinets, Amsterdam Museum. Photo: Amsterdam Museum.

Chapter 2:

2.1 Corso Vittorio. Photo: Hilda Kean.

2.2 Scratched words on Croick Church. Photo: Hilda Kean.

2.3 Gilt of Cain: Photo: Hilda Kean.

2.4 Stolpersteine (Stumbling Stones), Vienna. Photo: Hilda Kean.

Chapter 5:

5.1 National Museum of Australia, 2005. Photo: George Serras.

5.2 Entrance to the Journeys gallery, National Museum of Australia, 2009. Photo: Jason McCarthy.

5.3 View into the Landmarks gallery, National Museum of Australia, 2011. Photo: George Serras.

5.4 Carmello Mirabelli exhibit, Journeys gallery, 2009. National Museum of Australia. Photo: Lannon Harley.

5.5 Sunshine exhibit, Landmarks gallery, National Museum of Australia, 2011. Photo: Jason McCarthy.

Chapter 6:

6.1 Oliver Bendorf, “Do You Suffer from Archive Fever?”. Source: http://archivesmonth.blogspot.ca/2013/10/do‐you‐suffer‐from‐archive‐fever.html.

6.2 “The Leader of the Luddites.” British Museum.

6.3 “Stockingmaker.” Print from the Book of Trades, or Library of the Useful Arts, 1805. Picture Collection, The New York Public Library, Astor, Lenox and Tilden Foundations.

Chapter 9:

9.1 National Capital Commission, “Discover Confederation Boulevard.” Source: Carleton University Library.

Chapter 10:

10.1 Rama Lakshmi with students at the Fort discussing the docent walk, October 2012. Photo: Indira Chowdhury.

10.2 Students interact with local residents during the Fort walk, October 2012. Photo: Indira Chowdhury.

10.3 The shadow puppets depicting the attack on the Bangalore Fort in 1791, October 2012. Photo: Indira Chowdhury.

Chapter 13:

13.1 Watch, Benjamin Hill (movement) c. 1650–1660. London. Victoria and Albert Museum.

13.2 The Gartree Giant, Burton Overy, Leicestershire. Photo: Angus Mackinnon.

Chapter 14:

14.1 Monument to Soviet Repression and Urkun Memorial, Ata Beyit National Memorial Complex, Chong Tash, Kyrgyztan. Photo: Nurlanov Ilgiz.

14.2 Trends over Time in Media Publications About Ata‐Beyit (author generated).

Chapter 21:

21.1 The region of Al‐Jazeera al‐Hamra in the UAE. Source: Google Maps (edited screenshot).

21.2 Al‐Jazeera al‐Hamra General View. Photo: Hamad M. Bin Seray.

21.3 Al‐Jazeera al‐Hamra Building Exteriors. Photo: Hamad M. Bin Seray.

21.4 Al‐Jazeera al‐Hamra Decorative Elements. Photo: Hamad M. Bin Seray.

21.5 Al‐Jazeera al‐Hamra Roof. Photo: Hamad M. Bin Seray.

21.6 Al‐Jazeera al‐Hamar Mosque. Photo: Hamad M. Bin Seray.

Chapter 22:

22.1 Chained Circles. National Park Service Themes and Concepts Venn Diagram (author generated).

Chapter 24:

24.1 The author’s hand, holding a 1980 photographic print of his family. Composite digital image, October 2015.

24.2 Screenshot showing a then and now photographic overlay of San Francisco, 1941 and 2016. Source: https://www.theguardian.com/us‐news/2016/feb/04/san‐francisco‐then‐and‐now‐super‐bowl‐50.

24.3 Screenshot from Rideau Timescapes App.

24.4 Screenshot from Rideau Timescapes App.

24.5 Detail of screenshot from DearPhotograph.com. Posted January 10, 2012.

24.6 Detail of screenshot from DearPhotograph.com. Posted June 29, 2013.

Chapter 26:

26.1 Caspar David Friedrich, A Walk at Dusk (c. 1830–1835). Oil on Canvas. Getty Museum.

Chapter 27:

27.1 The Partition of Czechoslovakia 1939. Source: Wikipedia.

27.2 Page from the script of Laugh with Us. Photo: Lisa Peschel.

27.3 Comedy about a Trap Production. Photo: Dan Cashdon.

Chapter 28:

28.1 The Jongo Circle of the Quilombo São José. Photo LABHOI/UFF (2005).

Chapter 32:

32.1 The Taipei 228 Memorial Museum is housed in a renovated historical building. Photo: Chia‐Li Chen.

32.2 Wen‐fu Yu, Beyond the Wall. Photo: Chin‐jung Tsao.

32.3 Yu invited survivors of White Terror to disassemble his artwork together. Photo: Chin‐jung Tsao.

Chapter 34:

34.1 Map of Imbros. Source: http://www.gunubirlikgeziler.com/wp‐content/uploads/2016/06/gokceada‐harita.jpg.

34.2 Adatepe Olive Oil Label (detail). Source: https://www.adatepe.com/.

34.3 Olives and olive oil at a sidewalk stand. Photo: Helin Burkay.

Epilogue:

1 Hali Mbaya (Hard Times), Dar es Salaam, Tanzania. WaPi, British Consul, 2009. Photo with permission from the Wachata Crew.

2 Elimu (Education), Dar es Salaam, Tanzania. WaPi, British Consul, 2009. Photo with permission from the Wachata Crew.