My decision not to engage in historical narrative construction in this project emerged from both practical and ethical considerations: given the project limitations and immense culture gap, I found the construction of a comprehensive and accessible archive was a more appropriate and achievable task. Rather than critically examining sources against one another in hierarchies of authenticity, the creation of this archive allows for the cross-referencing of historical perspectives and the mutual illumination of the past as it has been experienced, remembered and evoked in the present.
abriendoloscielos.es/media/luhacyb/2.php As this project and its history are freely available on the Internet, the future possibilities are endless. Given my personal connection to the project and the community, I hope to continue it over the summer to eventually comprise all the original audio-visual sources. In keeping with the original project aims, I would like to see it presented to the local Gumine schools and utilised as a teaching resource, and potentially adding some interactive element that allows for schoolchildren to create their own historical narratives from the material or new oral histories in the same vein which can then be added to the archive.
However, there is still significant recognition of the difference between past and present in traditional customs and migration legends, passed directly from generation to generation through stories, songs and dances. Tangentially, I am also interested in researching further away from the HOPE worldwide team and its related community circle as this is closely linked with the church.
Whilst I worked on this project, a particular question of historical authority persisted in my mind: who possesses this history? As a profoundly social methodology, oral history engages a dialogue between the past and the present, through narrative and action.
The online oral history capsule that I have created holds more than just personal memories of select Gumine elders: it holds traditions and legends, changing cultural identities, complex perspectives on transnational colonial interactions, disappearing customs and languages, and a diverse record of an ancient culture that is rapidly changing.
Though one must acknowledge the inherent structuring influences of interviewing and translation processes, the oral histories that are presented are preserved as they were given, imbued with the perspective and values that these individuals have attached to them. Barber, S.
Oral history is inherently about memory, and when oral history interviews are used "in public," they invariably both reflect and shape public memories. "Oral History and Public Memories" is the first book to explore the relationship between the well-established practice of oral history and the burgeoning field of.
Blouin Jr. Brown, P. Fireweed Gerda Lerner. Striking Steel Jack Metzgar.
Policing Women Janis Appier. For Fun and Profit Richard Butsch. Louis Eric Sandweiss. Empire City David M. Review quote "A fine, well-conceived book, refreshingly direct and engaged. A collection of sparkling essays that show oral history at work in a diverse array of contexts, levels, and engagements.
They demonstrate powerfully its consequentiality for thinking clearly about meaningful intersections in public space, public life, community sensibility, and mobilized memory. This is no small accomplishment.
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Micheline shares her experiences fighting to ensure that women are paid equally for their work. Much of the course consists of walking around in the neighborhood to learn about changes occurring there. In the past, oral historians have generally privileged the individual narrator, frequently fetishizing the interview process without fully understanding that interviews are only one form of memory-making. To regain control, the Department of Justice determined that the Mountjoy segregation unit, previously used for political prisoners being moved around the prison estate, would become home for this new cohort of troublesome inmates. On a more critical note, I wish that we had involved the interviewees to a greater extent in the making of Positive in Prison. Erskine-Loftus P What are we silently saying? Author manuscript; available in PMC Apr
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