The super secret and exciting project that Andrea Eidinger and I have been working is finally out there in the world! Today we launched Beyond the Lecture: Innovations in Teaching Canadian History, an open educational resource focused on innovative pedagogy in Canadian history.
This is the first ebook in the new ActiveHistory.ca ebook series, with an additional publication being released soon.
Cover design by Taylor Jolin.
Months ago as part of a National Council on Public History annual conference workshop I received a copy of Susan Ferentinos book Interpreting LGBT History at Museums and Historic Sites. I started reading the book months ago but somehow it managed to get lost in my to-read pile until fairly recently. This book examines queer history in the United States, provides an overview of sexuality and gender studies in the US, includes three case studies on interpreting LGBT history at historic sites, and a lengthy additional reading list for more information.
I learned more than I anticipated in the sections which covered queer history in the US – perhaps partially because queer history touchstone events in Canada follow a different time line and the history of the LGBT movement in Canada has been documented in different ways than the US. This background section is worth a read if you’re not familiar with queer history in the US. I also really enjoyed the case studies which included in the book – all of which looked at approaches and challenges related to interpreting LGBT history as a public historian. The case studies looked at queer history in museum spaces, historic houses, and archival settings. They also touched on the value of integrating queer history in permanent exhibition or interpretation guides vs the inclusion of LGBT materials in special or temporary programming. For me these case studies where the real value add and the best part of the publication.
This book contains a lot of advice around consultation, community based interpretation, and the need to have institutional and local buy-in to projects relating to LGBT history. It’s a great resource for anyone looking to learn more about queer history in the US or about successful initiatives relating to the display and discussion of LGBT history in the US.
I recently received a copy of A Century of Progress: A Photographic Tour of the 1933-34 Chicago World Fair. The book is a collection of archival photographs from the Chicago Tribune collections documenting the world’s fair held in Chicago from 1933-1934 to celebrate the city’s anniversary.
The fair was marketed as the Century of Progress Exposition and featured exhibitions on technological feats, and futuristic ideas. It moved beyond an anniversary celebration of a single city and became an exhibition of hope and progress for the nation. More than 48 million people visited the fair – a huge feat considering the event was held during the depression.
The book contains over 100 photographs drawn from hundreds of photographs held by the Tribune. One of the points I found interesting was the inclusion of archival photographs that have been damaged — primary acetate negatives that fell victim the commonly occurring vinegar syndrome. As an archivist I was interested in inclusion of a note about the condition of the photographs in the About section and liked the fact they still included some of these imperfect images. History is not perfect and neither are historical photographs, it’s important to show that reality.
The 136 paged book is filled with black and white photographs that show a range of perspectives on the fair — the construction of the fair site, the exhibition halls, and every day people interacting with exhibits. Some of the images are funny, some beautiful, and some unusual. Many of the captions accompanying the images include quotes from the Chicago Tribune from when the images were first taken.
I liked these bits of commentary but found myself wishing for notes about when the comments were published, the context, who wrote them etc. I understand why this information wasn’t included – it would have cluttered the clean style of the book and potentially removed attention from the images. I also found myself wondering how the Tribune archive was organized, the book does not contain accession numbers – were items processed? How labour intensive was the search for these images? Concerns of an archivist that probably wouldn’t occur to the average reader.
The archive does have a virtual portal where it is possible to search some of the back issues and photo collections held by the newspaper. The website is in the beta version so isn’t perfect but it would have been nice to see more of a link between the digital and this physical book. A digital counterpart that includes map of the fairgrounds with geo-located photographs would help readers get a sense of the size of the exhibition and the layout of the space.
Having visited Chicago in the past few years and being interested in history broadly I found this an intriguing book. I like the idea of getting archival photographs out to the public in a diverse range of mediums. Be that via social media, digital archival databases, or coffee table books like this one.
I recently read Devil in Deerskins: My Life with Grey Owl the autobiography of Anahareo (1906-1985). Anahareo was a Mohawk environmentalist, writer, and activist. She is perhaps most well known for her marriage to Grey Owl, also known as Archie Belaney, the internationally acclaimed author who claimed to be of Scottish and Apache descent, but who’s roots as an Englishman were revealed after his death.
The original version of Devil in Deerskins was published in 1972. The University of Manitoba Press republished Anahareo’s autobiography in 2014 as part of it’s First Voices First Texts series. This series aims to republish critical editions of books by important under-recognized Indigenous authors and place these texts within their cultural contexts. The republished version of Devil in Deerskins was edited and includes an afterword by Sophie McCall. The critical comments by McCall add value to the discussion of Anahareo as an important historical figure in her own right and the republishing aims to introduce a new generation to Anahareo and Grey Owl.
McCall’s afterward rightly points out how Anahareo has most often been defined by her relationship with Grey Owl and at times has been “overlooked as an Indigenous writer because of her family’s history of displacement and relocation.” McCall’s close examination of Devil in Deerskins highlights the depth of Anahareo’s Mohawk heritage and the influence it had on her way of life and writing. This is brought out through a discussion of Anahareo’s relationship with her Grandmother, her beading, her use of traditional medicine, and the use of oral history to impart traditional knowledge.
Prior to reading this book I knew very little about Anahareo other than her relationship with Grey Owl. Anahareo is far more than the supporting figure that history has whitewashed her into. She received the Order of Nature from the International League of Animal Rights in 1979 and in 1983 received the Order of Canada. Her contributions to environmental, social, and animal rights go far beyond her relationship with Grey Owl and she was one of the first Indigenous women to publish a full length memoir in Canada. Her autobiography is well worth a read if you are interested in early environmentalism or indigenous literature.
Anahareo’s use of place in her life narrative and her ability to recreate landscapes inspired me to look up some of the locations she mentioned in her autobiography. The cabin which Anahareo describes in her memoir as the spot Grey Owl picked to settle and begin creating a beaver sanctuary in 1931 still exists in Prince Albert National Park in Saskatchewan. The main cabin known as Beaver Lodge was built on the shoreline of Ajawaan Lake with a beaver lodge integrated into the design. A larger cabin for Anahareo, her daughter Shirley Dawn, and visitors was nearby in 1932. The Parks Canada description of the Cabin focuses largely on Grey Owl with just one or two mentions of Anahareo. I would be interested to know what interpretive materials are at the site itself and how they depict Anahareo.