Letting Go: Decommissioning with Dignity?

The threat facing the Queen Mary is a serious issue with which, ultimately, every museum or other site with major physical resources has to grapple. Maritime museums of all sorts — from the Queen Mary to Fall River’s Battleship Cove or Mystic Seaport — are like zoos in that way: the first responsibility is to the care and preservation of the reason(s) they exist at all (check out the AASLH’s guide to Interpreting Naval History at Museums and Historic Sites). That alone is a tremendously expensive effort, and while certain things can be deferred, they cannot be avoided and will only become more expensive to fix. As someone who once ran a site with a few dozen historic buildings, some dating to the 1600s, maintaining them (to the point of spending winter mornings shoveling snow off 18th-century roofs), let alone interpreting them, was a daunting task. How can you completely fulfill every site’s implicit core mission — not just to protect, but to project — when you can’t let anyone experience the space because it’s dangerous to the structure and to the guests, and you simply don’t have the money?

As funding sources decline, and schemes to find more become more wild and ineffectual in their desperation, when does the answer become “let it go”? More and more sites will face the question that the Queen Mary — a unique, immersive site that has a special place in my heart and where my Disney connection began — now must answer. Communities have done, and are doing to do, what they can, but the need is quickly outstripping their capacity. The differences among Long Beach to Fall River to smaller towns are in degree, not in kind. In the end, while we talk a great deal about succession plans in museum and public history leadership, and sustainability of programming and human capital, must we now include a new discussion about decommissioning with dignity, responsibly and thoughtfully turning experience into memory and history?

And, keep in mind, this has already begun. Does anyone remember Johnsonville, an Old Sturbridge-type (meaning totally fictional but with period buildings shipped in from other areas) Victorian “living history” village in Connecticut that closed more than 15 years ago? They have already been decommissioned, the site is abandoned, and its caretakers are selling historic resources to anyone with cash. Other sites are taking different tacks, but are no less transformational. Old Sturbridge itself, for a site that is losing $1 million a year per its last 990, is shifting its scarce resources to creating a charter school. Colonial Williamsburg, now hemorrhaging guests, has dropped all pretensions to the history education vision that created the place, and inspired Walt Disney himself, to embrace “theme-based interpretation” that promotes, as the Wall Street Journal just promoted, hotels, golf, fine dining, and craft beer (the new motto, according to the WSJ, should be “Give me luxury or give me death!”): Its idea of a Women’s History Month program is a group of patriot men, talking about women, which basically happens every day ending in a “y”. As for many of the rest, the unique stories they can tell are being buried underneath an increasingly anodyne and banal series of cookie-cutter programming. Bold, original programming, accept at places like Plimoth Plantation, appears to have largely evaporated. Perhaps, as has been suggested elsewhere, it is simply that an era in the history of heritage tourism — that of the large-scale living history museum — is over, a relic of post-World War II prosperity, highways, and a love-affair with car trips. At least some places, such as Historic Deerfield, seem to be resolutely holding on to their integrity, keeping within their financial compass to focus intently on mission-related efforts, to their credit. But for many others, is there a pandemic of the same sort of “mission rot” that the Queen Mary more seriously and directly faces in its hull deterioration, but leads, nevertheless, to the same metaphorical end: a sinking ship that can never sail again?

In any case, it’s a situation that’s certainly calls for a new chapter for my upcoming book, and might require a serious re-read of The Anarchists’ Guide.

The Past is Never Dead, Only Deadly Boring: A View of the Field from the Newport ‘Radicals’

Several weeks ago, a group of admittedly self-proclaimed radical public historians, led by NHS Executive Director Ruth Taylor,  descended upon the Colony House in Newport to dispel a rumor that is growing like a pernicious weed through certain quarters of the field: History is dead and the heritage sites that depend on it are dying.  It’s a rationale being deployed by some of the largest and oldest living history sites in America to justify dramatic changes in their programming to chase revenue from other, hopefully younger, sources, such as the coveted, yet elusive, Millennials whom, the thinking goes, are searching high and low for the next unique background for a strikingly similar, and similarly anodyne, series of ghost tours, craft beer tastings, modern art installations, and weddings (lots and lots of weddings).  Millennials want leisure experiences, they say, like spa treatments and wine pairings, not challenging engagement with the people, events, and ideas that continue to shape our collective lives.  They want resolution, not conflict.  History is dead, these wishful trailblazers declare, and the only way to save heritage spaces is to kill them and their archaic missions.

It’s a topic that our panel of radicals — Old Salem’s Frank Vagnone (co-author of The Anarchists’ Guide to Historic House Museums), the American Association of State and Local History’s Bob Beatty, the Rhode Island Historical Society’s Morgan Grefe, History Communicator extraordinaire Kevin Levin, and myself, with a special appearance by Plimoth Plantation’s Tom Begley — were eager to tackle, perhaps because, for all of our claims to radicalism, and record of causing trouble in the museum world in several time zones, we were uniform, even resolute, in response: to channel Faulkner’s fictional attorney Gavin Stevens in Requiem for a Nun, “The past is never dead. It isn’t even past.”  In other words, history — especially a public history that actively seeks to connect the past to the present in ways that shape the future, and a preservation ethos that rehabilitates stories as much as buildings — is alive and well, even amongst Millennials.  As one of the panelists pointed out, just follow the money.  Lin-Manuel Miranda and his Hamilton: The Musical wouldn’t have reached their current astronomical heights of popularity if history is dead.  “Hidden Figures” and “Hacksaw Ridge” wouldn’t have been nominated for Best Picture Academy Awards, and grossed a combined $219 million at the box office, if history is dead.

More to the point is the evidence provided by the institutions that appear to be at greatest risk if history was headed to the morgue.  Closer to home, the mansions managed by the Preservation Society of Newport County reported welcoming an astonishing one million guests last year.  Plimoth Plantation — a prime candidate for extreme unction if there was one, with its dozens of costumed interpreters, a complex narrative that blends religion, Native Americans, and a core of Protestant extremists, and a 90-minute drive from the nearest metro area — is not only holding onto its historical audiences, it’s growing new ones, while maintaining a respectable balance sheet for donors and trustees.

So what’s the deal? Why are some sites losing guests and dollars, jettisoning boatloads of human capital in the process, while seemingly similarly situated ones are looking forward to a sustainable future?  In the end, we concluded that the issue isn’t about history being dead, it’s about history being deadly boring.  From Hamilton to Plimoth, success clearly appears to lie in a consistently strong yet diverse helping of mission-driven historical programming designed to educate and entertain, connecting audiences — even Millennials — in ways that are natural, that taste and feel real because they are.  But that requires a level of deep immersion in a historical past that draws heavily on academic resources of all kinds in order to get the details right, even the ones guests don’t see.  The important thing is the scope and nature of a 360-degree guest experience, one that’s not bland or artificial, and than can carry the serious ideas and conflicts that are going on in the heads of Americans and other visitors, regardless of marketing demographic, if for no other reason than because that is the only way through them. Immersive public history doesn’t work unless the past we present gets at the big stuff.  As my experience from Disney to Colonial Williamsburg consistently reminds me, engagement doesn’t work unless it gets at the core of a human condition that wrestles with the challenges we continue to face, whether over race, religion, gender identity, or other distinctions that artificially divide history into one that’s yours and one that’s mine.

But it can’t be fantasy.  That line can’t be crossed, even if, in the end, all we are really trying to do is tell a story and draw others into its pages.  Do that and, as we radicals discussed during and beyond the panel, your site will not just lose money, it will lose much more — it will lose credibility, which, for a heritage site, is the ball game.  Entertaining, provocative programming will convince your guests to come back to your site, but your reputation is what will get them there in the first place.

So Faulkner’s over-quoted phrase can continue to have real meaning for us as public historians, who see the past as vibrant and alive, with an important role to play in our daily lives, as it swirls all around us.  Because, in the final analysis of the Newport radicals, people don’t hate history, they just hate history done badly by people who don’t seem to care much about it.

Dr. Taylor Stoermer, Visiting Curator of Public History at the Newport Historical Society, Faculty Fellow and Adjunct Professor at Roger Williams University, and author of the forthcoming Public History: A Field Guide (Rowman and Littlefield).

Battleships and Bordens: Questions about the Power of Space (Guest Post)

This is a guest post by journalist Brian Hubert (follow him on Twitter @briguyhubert), an avocational specialist in transportation history, who just visited southern New England to look into the different ways in which public history is practiced here.  This is his impression of a visit to several sites in Fall River, Massachusetts, offering military, technological, social, and dark history, in places that use the power of space in strikingly different, but similarly influential ways, when it comes to understanding the elements of a successful guest experience.

A recent trip to Fall River, Massachusetts shows the power of space in historic sites.

One of those sites is Battleship Cove, which features the destroyer the USS Joseph P. Kennedy, Jr., the battleship USS Massachusetts, and the submarine USS Lionfish, along with a ship built for East Germany, the Hiddensee, which was part of USSR’s “Eastern Bloc” during the Cold War. The ships are docked under a tall bridge that carries Interstate 195 towards Providence.  After passing through a small building that houses a gift shop, guests can make a left and venture into a large building that houses two “PT” (Patrol Torpedo) boats, along with a number of signs and a video that tell the story of the famous craft, including the events of August 1943, which would help to make future U.S. President John F. Kennedy famous.
Guests start their tour of the big ships by boarding the USS Joseph P. Kennedy, Jr., and seeing the ship just as it was when it was decommissioned in the 1970s. They are free to tour as much or as little the of ship they want to at their own pace in whatever order they want.  Most hatches are open and no one is there to yell “don’t touch that” at guests. A small ship’s store has a calendar turned to February 1972, and the shelves are even stocked with Ritz crackers, Sunmaid raisins along with Lucky Strike, Camel and Marlboro cigarettes and Colgate shaving cream. On the counter is an old cash register stuck on $.01 and a sign hangs from it stating the store’s hours in military time.
The mess hall is another interesting space with a retro Coca Cola vending machine along with tables, and a stainless steel water fountain much like one found in a high school hallway.  Shelves hold dozens of napkin dispensers like those found in a traditional diner. The cafeteria-like space contrasts greatly with a dining room where higher ranking members of the crew enjoyed their meals on a table with a tablecloth and fine china. The placement and presence of these items give the ship a lived-in feel and it breaks down barriers to imagining what day-to-day life was for members of the crew and how the day-to-day routine varied for crew members based on rank.
A self-guided tour seemed to be the best way to take everything in. It lets the guest focus on what they think is most interesting, and it avoids a situation where a guide focuses on only one or two things they’re interested in.
Maritime technology abounds in the Joseph P. Kennedy, Jr. as well, ranging from early computer and radio equipment to the large steam turbines that propelled the ship. Above deck, the ship retains many of its original guns, allowing guests to get an idea of just how big some of them really were in a way that could only happen on board such a vessel.  Visitors can peer through glass at the ship’s bridge, and a video plays on a loop in which former crew members who served on the ship, even in those rooms, share their experiences.
What better way to offer living history than by featuring those who actually lived it?
Nearby a fully intact radar room is lit by red lights that made the large radar screen easier to read for crew members.
A platform then can take visitors to the USS Lionfish, a WWII submarine that used a diesel-electric and battery propulsion system that was a precursor to today’s nuclear subs. This limited the time Lionfish could spend below water, and the deck is equipped with several guns to help protect the sub when it needed to breach the surface and run its diesel engines to charge the batteries. When guests head below deck, they immediately encounter the equipment used to launch torpedos, several of which sat ready to go in case of enemy attack. Hammocks above the torpedoes provided cramped sleeping quarters that allowed the crew to wake up and fire them off at any moment.
As one takes in the surroundings it’s easy to suspend disbelief and imagine what it was like to serve on Lionfish even with a lack of expensive and gimmicky technology, or even an interpreter or docent. After passing through a doorway so short it requires guests to bend down to pass through, guests pass several officers’ quarters before they arrive at the center of the sub.
In this space, the ping-ping of Lionfish‘s sounding equipment can still be heard. Adventurous visitors can climb a ladder to peer into the bridge. In an adjacent, space, behind plastic, are the handles that were used by the crew to let in or discharge water allowing the sub to dive below the service or come back up. Passing through another doorway, guests enter the engine room and come face to face with four large Fairbanks Morse diesel engines that generated electricity to charge the large batteries that drove the electric motors that propelled Lionfish when it was below water.  Similar engines would find use in Fairbanks Morse’s unsuccessful foray into the diesel-electric locomotive market after the war. It was a time when railroads across the U.S. and Canada were rapidly replacing steam locomotives with new diesel-electric locomotives. A nearby GE electrical cabinet allowed the crew to change between the diesel engines, which could only be run above water and the batteries used when the sub was below water. A couple of the levers can even be pulled, providing a very small, but tangible, connection to when Lionfish was in service.
Once back on the deck another platform takes visitors over to the Hiddensee, a much more modern Soviet-era missile cruiser that belonged to the East German Navy before reunification in the 1990s.  Following reunification, Hiddensee was transferred to the German Federal Navy and later to the U.S. Navy (to which it still belongs). Once aboard it’s hard to miss one of the giant missile batteries, with what looks like missiles still inside. Much of the labels and signage aboard is still in Russian (Cyrillic), while some English labels were added at later date. Unlike the Joseph P. Kennedy, Jr., and the Lionfish, access to the bridge is unfettered and visitors can get up close to and even touch some of the equipment. Below deck, a shower stall is frozen in the 90s with Suave shampoo and bar soap ready to use.
The last, and biggest, ship at Battleship Cove is the USS Massachusetts, a WWII battleship that launched in 1941. The first thing visitors notice is three massive guns above deck, and their size can only be appreciated in person. While the tour below deck was cut short by the museum closing for the night, one of the most best spaces down there was the mess hall, which resembled a large cafeteria. Large trays hold faux food and counters still survive. Nearby was a machine shop stocked with everything from light bulbs to a large assortment of tools ready to be used to repair just about anything while Massachusetts was at sea.
One of the most tangible experiences on Massachusetts is found here on the dozens of hammocks where members of the crew that staffed the mess hall slept. Guests are free to climb up in the hammocks and see how they felt. They actually were more comfortable than they looked. One could even take a nap if one wanted to.
What better way to connect with the past than closing your eyes for a few seconds and laying down in hammocks just like those the ship’s crew would’ve slept in?
Perhaps the biggest disappointment, though, with Battleship Cove was not being told that admission tickets could also be used for a nearby maritime museum that appeared to have a bit of an identity crisis. On its website, this museum, which features exhibits and artifacts that help to tell the story sea history and its connection to Fall River, is referred to as a maritime museum. But strangely enough, a large sign in front refers to it as the Marine Museum. It would’ve been nice to know Battleship Cove tickets are also valid at this museum, making the $18 ticket price seem like a better value.
The lack of talk of this museum at the ticket counter, contrasts greatly with New England’s largest theme park, a Six Flags in Agawam, Massachusetts where nearly all the park’s marketing and promotional efforts note how admission tickets and season passes include admission to the theme park and a large adjacent waterpark named Hurricane Harbor.  Both the theme and water park are accessible through one gate.
If Six Flags can tout “two parks for the price of one” why can’t Battleship Cove promote “two museums, each offering different experiences, for the price of one?”
Space also plays a key role at the nearby Lizzie Borden Bed & Breakfast, where Borden lived when her father and stepmother who were murdered in 1892 by bring struck with a hatchet multiple times each. The circumstance surrounding their deaths became a national sensation almost overnight thanks to the press who spread the story rapidly. In 1893 a jury found Lizzie not guilty on all charges, which is highlighted on the front page of a copy of a major New York City daily that hangs in the gift shop.
Unlike many other historic house museums, the Borden house has no velvet ropes or glass barriers restricting visitors’ access. Guests are welcome to sit down on the period furnishings that fill the rooms. Unlike many other HHM’s, the furnishings are not the focus of the tour, which instead focuses on Borden’s life, with a special focus on the day of the murder. A good deal of background is provided about the lives of her parents, her sister Emma and the family’s Irish maid, Bridget.
Just being able to sit on the furniture and roam freely in the rooms, creates a different dynamic and a more relaxed atmosphere. The tour had a more conversational feel than the usual material-culture driven lecture of a typical HHM tour. Each room, including those where Mr. and Mrs. Borden were killed, features graphic, but discretely placed, crime scene photos, which were a new innovation in police investigations at the time.  They help connect guests back to the day when the Bordens were killed.
The Borden home is a popular “dark tourism” site. Dark tourism is a kind of tourism based on going to places where death or other tragedies occurred. They have become big business, and their own segment of the heritage tourism sector.  Over the years, the Borden house has become the subject of countless ghost legends, and upstairs in Mr. Borden’s bedroom, and in an upstairs space where Bridget slept, our guide shared several ghosts stories related to the house. The stories, like one involving toys making sounds, and rolling up a pitched floor in the third-floor room, are told in a way that leaves it up to the guest to decide rather they want to believe in the ghost story or not.
This acknowledges the ghost legends and stories connected with the site without resorting to gimmicks like Colonial Williamsburg’s fictional  “Haunting on DoG Street.” While off-mission programming is touted by CW leaders and marketing staff  as a cure for dwindling attendance and financial issues, this hypothesis was proven wrong at the Old Colony and Fall River Railway Museum, next to Battleship Cove, which closed in October 2016.  The defunct museum held a “Haunted Railyard” event for several years but it did little to stave off declining attendance that led to the site’s demise. Now its small yard, flanked by rail sidings to use store freight train cars that extend to the docks, sits padlocked, with its future very much up in the air.
The closing could be construed as a positive for the museum’s New Haven Railroad self-propelled Railway Diesel Car. After years as a static display at the museum, the RDC will head to the Berkshire’s Hoosac Valley Train operation in North Adams, Massachusetts, where it will be restored to operate with a sister RDC that already runs between North Adams, and Adams on a four-mile section of old New York Central Railroad branchline that ran between North Adams and the railroad’s mainline between Boston and Albany at Pittsfield.
As for the rest of the rolling stock and artifacts at the museum, which include an old New Haven Railroad 40 -foot boxcar from the mid-20th century, a caboose and a riveted steel heavyweight coach, the future is less certain.
This museum’s demise after years of plummeting attendance serves to offer a cautionary tale about how off-mission programming is no magic silver bullet solution for struggling sites.
But despite this, back across the street at Battleship Cove, signs hang promoting a mermaid “princess party” event that features a picture that bears more than a passing resemblance to Ariel from the Disney animated hit film “The Little Mermaid.” It seems strange  to hold this kind of program at a site that focuses on battleships. How does it relate to the mission of a site that already offers a big slate of children’s programming, including sleepovers on the ships?
So the question is why?  Why create a space for fictional mermaids in one that was already given meaning by heroes?  For space to have power, doesn’t it require an understanding of who and why that power was created in the first place?
— Brian Hubert

Walt Disney and Public History

A career in public history can lead one down some unexpected paths.  Unlike a traditional academic career, focused so intently on classrooms and publications, public history is, indeed, everywhere, and can assume almost any creative or intellectual form. It has taken me from Colonial Williamsburg to C-SPAN to the Hudson Valley and on to Harvard, the Kennedy Institute, and Newport.  It has also put me on a plane to Orlando, on my way to, of all places, Walt Disney World, and all it has to offer for the practicing public historian, which, as it turns out, is quite a bit.

This particular adventure started when the editor of my forthcoming textbook on the practice of public history — Public History: A Field Guide (Rowman & Littlefield for the AASLH) — strongly suggested, in a way that only editors seem to be able to carry off, that I include more in my book about the history of public history. I was pointedly planning to avoid the topic, except for some broad historical commentary on public historians of the 18th and 19th centuries, and escape any emphasis on theory — given the little interest and less patience I have with that particular topic. But a textbook worth the time and money of any student or practitioner, I was reminded, however focused on the practical dimensions of the field,  should tell the whole story of that field, which includes such essential backstories.  So added to my research and writing schedule were two new chapters, starting with the history of public history.  And who would I run into as I began it but the man behind the mouse: Walt Disney.

It’s not that he, or his specter, at least, wasn’t inevitably lurking in the background of that history.  Disneyfication” has long been a pejorative in the field, meaning essentially the commodification, simplification, and even misdirection of cultural heritage for profit.  It had a particularly negative resonance among veteran staff at Colonial Williamsburg, who sneered at what appeared to be the Walt Disney Company’s overt rejection of any responsibility for authenticity and accuracy in pursuit of whatever sentimental or narrative entertainment value that might earn a buck for the multimedia behemoth.  The recent past has given us attempts by the Disney Company, under Michael Eisner’s guidance, to establish a Civil War theme park in Northern Virginia and a cringeworthy twist on the tale of Pocahontas in the eponymous animated feature.  Throw in movies and television adaptions such as the stories of Esther Forbes’ fictional, but beloved, Johnny Tremain and an all-too unhistorical take on the very real Davy Crockett (a broadcast that nevertheless generated a massive nationwide phenomenon that makes the current “Hamilton” fad look like the merest blip on America’s cultural radar screen), and Disney’s reputation for being the enemy of public history, of doing more harm than good, appears to be well-deserved. So what, you may well ask, am I doing on this plane? 

In short, I blame Neal Gabler, a terrific biographer now penning a life of Edward M. Kennedy, about which we have been exchanging thoughts and ideas.  Our discussions led me to his splendid book on Walt Disney and more than a few things I didn’t know about that complicated American visionary.  One was his deep appreciation of America’s past and its importance to our national identity — an issue that has been contested, and condemned, in more than one academic conference session.  More interestingly, however, was his connection to the thrust of my book: the seminal, and reciprocal, role he played in the the modern practice of public history.  When he first considered the potential of  imbedded, immersive experiences, and the business that made it possible, as well as the point of it all, Disney turned first to those sites that were then on the cutting edge, most notably Colonial Williamsburg.  Disney and his wife registered their first visit there in 1944.  As his activity and interest increased, especially when Disneyland was coming to the fore of his efforts in the 1950s, he returned to CW and added Old Sturbridge Village and other sites to his research itinerary, shaping and reshaping his view of the importance of people and place as key elements in telling a story that could transport anyone to another context, whether fictional or historical, leaving their modern views behind to embrace the possibilities inherent in fully engaged interactions with live interpretation and, of course, the built environment.  He refined that with more visits in the 1960s as he moved to expanding that view while he and his “Imagineers” developed Disney World. In 2017, it is likely that more people this year will gain their core understanding of American history and identity from a visit to a Disney theme park, a movie, or another media source than will ever read all of Bernard Bailyn’s books combined.

The favor, if you will, was returned as cultural heritage sites like CW adopted and profited from the practices that Disney developed, for better and worse. So the relationship has definitely become one in dire need of therapy, which is why I’m here — to learn, with the help of the Walt Disney Company, to renew the dialogue, if not stage an intervention.  As a group of my Harvard graduate students taught me with a clever project last year, Walt Disney World is a great public history site, whether we like or not, so here I am (Using Frozen‘s hereditary monarchy model for an extra credit question recently had nothing to do with it. Really.).  It’s sure to be a wild ride, so I hope you come along for it. 

Second historian to the right, and straight on ’til morning.

The Peril and Promise of Pokémon GO for Museums and Heritage Sites

[NOTE: Reposted with minor edits from last month’s Medium]

Museum Hack has covered the basics of the Pokémon GO phenonomen so well for museums and heritage sites that I hardly need to go into it here. There are, of course, the obvious spikes in visitorship and attention from that coveted cohort, Gen Y, going across our square footage, searching high and low for the virtual invaders that have many heritage pros giddy over the fad (“Look, there are YOUNG PEOPLE in our parking lot! And they’re LOOKING. AT. US.”). This is especially true for the legion of small sites and museums that are desperately striving for increased visitation (See for yourself: there seems to be a proportional relationship between budget troubles and Pokémon GO promotion). For those sites, almost any warm (and hopefully entrance-fee-paying) body will do, as guest numbers is the name of many a P & L game. But, as the always-informative Colleen Dilenschneider has reminded us, there is a tremendous difference between fads and trends — and cultural professionals better recognize the distinction. It is not one without a difference. And Pokémon GO fits the perfect definition of a fad.

Some museums quickly took stands against it, most notably the U.S. Holocaust Museum, which made it perfectly clear that playing the game within its walls was a violation of its inarguably important mission.

“Playing the game is not appropriate in the museum, which is a memorial to the victims of Nazism,” Andrew Hollinger, the museum’s communications director, told The Post. “We are trying to find out if we can get the museum excluded from the game.”

Other heritage sites either followed suit or are decorously ignoring Pokémon GO altogether, sticking quietly and resolutely to the pursuit of their missions, which I have applauded. After all, Nintendo, the shares of which are soaring, didn’t ask anyone if they wanted the augmented reality beasties populating their site, any more than it intends to share its profits with them. Other cultural organizations, however, have made a thoughtful calculation that welcoming the players is neither inconsistent with their mission, nor does it get in the way of their current audiences or strategic plan, and it helps boost the bottom line a bit without costing anything, which is what every Trustee likes to hear. Either way, at least they thought about it. To the horror of many a donor, though, other cultural organizations have not been so circumspect, diverting existing resources from mission-oriented activities (if they are so lucky as to be mission-oriented in the first place) to a less dignified grab for the seemingly ubiquitous game players.

Nevertheless, there are lessons to be drawn from the current craze that heritage pros at sites and organizations, large and small, might want to keep in mind.

First, stabilizing existing core audiences and building new ones are the keys to sustainability. And that generally means having a clear, relevant, and distinguishable mission that can be deployed by staff with some flexibility. Add some systems thinking to that, such as integrated marketing and development, and, voila!, you have the basis for a long-term community. Moreover, such missions attract and keep members, who often — or at least should — turn into higher-level donors (it really does work that way). So beware of embracing a fad without thinking of its impact on the audiences you already have and the perception it creates for those you want to build.

Second, what attracts guests to many heritage sites in the first place is not necessarily the same thing that attracts them to zoos or aquariums or even to an art museum. Staring at a battlefield landscape is really not the same thing as staring at a Van Gogh or a snow leopard. For the most part, heritage sites thrive on the powerful “sense of place” conjured in the imagination by standing in the space where something occurred, or where someone ostensibly remarkable lived and worked.  Unless a site’s leadership starts throwing pirates or ghosts into the scene, that sense of place tends to keep heritage visitation numbers relatively steady, depending on whatever else is going on in the global economy (Ever been to the UK? Go. Now.). Heritage sites walk the thinnest of tight ropes, on which they constantly face an exceptionally delicate balance between retaining — or even sentimentally reconstructing —whatever remains of the past in the present, and attempting to creatively communicate it. That authenticity is an imperative form of content that once lost can almost never be regained.

Third, mission and content might get many people to visit a heritage site once, but the quality and nature of their experience is what will bring them back, whether the experience is hands-on or minds-on. And that experience had better be all about guest engagement, with staff or amongst each other, and clearly tied to the mission (so they don’t just go down the street for the same thing next time). The more immersive that experience, and the more relevant its connection to the present, the better, as the more senses one can engage, the greater the opportunity to unleash the lived experiences of the past.

Those things — mission and audience, sense of place, guest experience — provide the foundations of sustainability for a heritage site in the 21st century. Simply put, they drive visitation, donations, and visibility, which allow us to keep doing our work, which is to actively engage the public with the lessons the past has to offer.

But what does that have to do what Pokémon GO? Well, almost nothing. And that’s my point. Responsible heritage pros need to ask some key questions about those foundations when it comes to fads. Core, or historical, audiences are those that regularly visit heritage sites and organizations. Yes, they are aging. But we can’t forget about them, making assumptions that their numbers, however dwindling, won’t just completely disappear. How does something like Pokémon GO impact them and their experience?

Even more cloudy is the impact on the new audiences we hope to build, mostly comprised of Millennials (we Xers are always left out of the equation) and those who are coming after them (who are mostly playing the game). There is no silver bullet for securing their support, any more than there is for any other affinity audience, regardless of age or ethnicity. The argument that one just needs to get them through the door, in any way that “works”, from an augmented reality game to a beer tasting, and the magic of a place will suddenly and immediately be revealed, and they will somehow transform into long-term supporters that your development staff can move up the giving ladder, is a chimera. There is no reliable evidence, whatsoever, to support it. But that doesn’t mean Pokémon GO doesn’t matter. What is your museum or heritage site doing to transition any episodic guest, such as a Pokémon GO player, into one that is actually going to pay any attention to the reason you’re there at all, and transition them into members of your greater community? Is it, perhaps, by turning them on to other ways that you’re already trying use technology to engage guests, ways that actually connect to your content and mission?

Having almost literally run over three Pokémon GO players the other day when I was driving on College Hill, I won’t touch on their impact on the sense of place. That’s pretty obvious. But there will always be wanderers at our heritage sites, many of whom don’t have any more notion of why they’re there than that an adult told them they should go, which will always be a heavy tip on one side of the delicate balance.

That brings me to perhaps the most important question that heritage pros could ask of the Pokémon GO fad, and, therefore, the lessons that can be learned: what does it tell us about the kind of experience that younger guests don’t just want, but expect? Not a lot that’s new, actually. It’s more of a glaring confirmation of how technology is imbedded in their lives. Smart phones, and all the bells and smells they virtually produce, are part of the lived experience of digital natives, almost as much as the Geneva Bible was to the Puritans, so we have to make sure that is factored into the immersive experiences we want to create, and not as simplistic add-ons, but as an organic part of them. So ask yourself how such technology fits into either your overall strategic plan or your tactical toolkit.

Otherwise, Pokémon GO is neither new nor revolutionary for museums and heritage sites. Nor is it permanent. It is more of a wake-up call for us to look around us and ask how it impacts how to make sure our space will still be around when today’s players are looking for places to visit 20 years from now, when they have children enthralled by the latest fad.

Making a Public Historian: False Promises, the Gig Economy, and a Humble Proposal

Now that final grades have been submitted and the 2015-2016 academic year is turning into a happy memory — one full of intelligent students, engaging presenters, a terrific new digital public history initiative (our CNA Project), a “heritage survival” study, rich interactions with dozens of history museums, and a maddening effort to restart an equestrian program — the summer beckons with questions for many Public History and Museum Studies graduates about what’s next for them. Several major themes have emerged in my experience over the last year and far too few of them are discussed in public humanities forums, which tend to focus on subjective questions of interpretative trends and priorities, rather than the more prosaic, yet critical, questions of practice and the business of public-serving heritage organizations. Leaving aside the continuing and bewildering confusion among many academics that attempts to make oneself into a public intellectual do not also make one a public historian, chief among the themes I’ve discovered this term is that Public History and Museum Studies programs, like academic History departments, are preparing students for professional life in a world that no longer exists.

Of course, there is nothing new about handwringing over the fact that there are too many PhDs on the market for the fewer and fewer available academic jobs that candidates covet, and those are not just the comfortable, closely guarded, tenure-track positions at R1 schools, but even contract positions at community colleges (in short, anything that comes with a paycheck and a title that makes all the sturm und drang of graduate school appear to have been worth it). The same is true for Museum Studies and Public History, as students graduating from ostensibly top programs scramble for anything that will give them a crack at a permanent position somewhere near their actual area of interest. As someone trying to build such a program, I firmly believe that the fault for that situation lies largely with the programs themselves: the vast majority of graduate Public History and Museum Studies programs in America are not giving students what they need to actually do the jobs that our space now demands. Instead, courses on theory are almost everywhere privileged over practice — and don’t kid yourself that some sort of externship or internship fits that bill. As an institutional department head, once upon a time, and member of many search committees now, I’ve done a lot of hiring for historic sites over the last seven years, and only once hired the graduate of a Public History or Museum Studies program (SUNY Oneonta’s) for a permanent position in that person’s field. In fact, of the most interesting thought-leaders in our particular space — directors and staff in progressive places like Plimoth Plantation, the Newport Historical Society, the Kennedy Institute for the U.S. Senate, the Bostonian Society, the Center for Reconciliation, and Monticello, and at least one consultant (well, just the one, actually) — only one is the product of such a program (Brown’s in Public Humanities and Cultural Heritage). What they all share, however, is experience in the practice of public history, from interpretative programming to guest services to donor cultivation to marketing to tech developments, which gives them an understanding of how such elements can and must work together to forward a mission despite budget challenges.

Not only are these programs failing the vast majority of students in not providing sufficient preparation for the limited job market, they increasingly insist — entirely against the evidence shown in placement rates or in the backgrounds of current hires at effective institutions — that PhDs are needed to fill those roles, perhaps by bestowing upon someone a sort of magical status that ultimately elevates them into a rarified rank of legitimacy. Donors like the academic window-dressing but otherwise the impact is largely imaginary. Recently, close friends of mine, all of whom hold or held senior positions at major heritage institutions, had encounters with precisely that sort of ignorance. One submitted an NEH grant proposal that was turned down because the readers had a problem with the fact that my friend had the temerity to refer to his uncredentialed interpreters as “public historians” and, moreover, no one at his institution currently holds a PhD in History or a related field. One of the readers expressly pointed out that she possessed such qualifications, as an academic public historian, and, although she had never held a front-line job at a heritage institution, knew that the PhD was necessary to my friend’s effort (piffle, as my grandmother would say — my word for it would be considerably less polite). The other was told, point blank, by a colleague at a partner institution, that she was unqualified for her current position because she doesn’t possess a PhD. On the other hand, another close acquaintance was hired for a major public history job just because he held a PhD in History from a prestigious program, even though he had zero experience in the field. It took him more than a year before he was able to truly add value in his position and develop as a proper public historian, but only because he applied himself to earning enough practical experience to enable him to use his substantive knowledge in a productive way. But, for the institution, that was something of a lost year. In all these cases, the PhD for public history efforts was and is strikingly miscalculated, revealing more ignorance than expertise on the part of the evaluator, such as that august NEH proposal reader. Don’t get me wrong, I clearly appreciate the skills that come with a trained PhD, but I also know better than most people that it goes way beyond what’s necessary for most museum and public history jobs, for which an MA is perfectly sufficient as a terminal degree, as experience counts for more than any piece of paper. Yet colleges and universities continue to recruit candidates for such programs, with empty, or maybe just hopeful, placement promises, and those of us who are part of them continue to hear the rhapsodic call of our administrators: “enrollment and evals…enrollment and evals…enrollment and evals…”.

That part of the professional problem in the field is not as intransigent as it might seem. A broader discussion in career diversity is percolating within institutions, at professional conferences, during #DrinkingAboutMuseums sessions, and online, with folks like Jennifer Polk (@FromPhDtoLife) helping to lead the way. But there is an even bigger issue that is entirely reshaping the practice of public history. Fortunately, it also happens to come with a fairly simple, if not comprehensive, solution.

I’m terrible with metaphors so I’ll skip the neon sign reference and just state clearly that the biggest issue facing the business of museums and public history is not dropping visitation numbers, but a crisis of capacity. Of the organizations with which I’ve worked over the past year, every single one has mentioned it. Most often, they are small institutions that have too few, if any, staff and many don’t know how to get the help they need to accomplish their goals (I get asked most often about training). But the absolute worst of them — annual deficits, abysmal fundraising efficiency, poor mission projection — have one thing in common: too much staff, and of the wrong kind. They’re bloated and top-heavy, which not only leads to the obvious negative budget impact, which can’t be dismissed, but they also tend to be cloistered when it comes to strategic approaches and unresponsive, even listless, on the tactical front. Changes to the status quo, or at least adaptation and accommodation to trends in the field, usually identified by too-few trained and experienced front-line staff, are held hostage to bureaucracies that appear more inclined to rely on high-priced consultants, who often seem to disguise catchy fads as informed innovation, rather than their existing internal expertise. Others have stifling layers of curators, researchers, education directors, marketers, and administrative staff that just aren’t justified by the return on mission or the monthly P&L. More to the point, they also tend to be mind-numbingly boring when it comes to guest engagement. All of that feeds unproductive institutional cultures, even if that institution consists only of a Board of Trustees, two paid employees, and a dozen dedicated volunteers. It’s easy to spot these organizations: behind almost every poor TripAdvisor review or eye-wateringly sad 990 is an institution with an internal culture problem that resorts to schemes for advancement, rather than developing an effective culture through targeted strategies and realistic tactics.

That begs the question about the best organizations that I’ve seen and what they clearly have in common, especially as it relates to the question of capacity. They are those, even among institutions of national reach, that are lean on senior staff, almost to the breaking point. The few folks at the top, with reasonable salaries, supported by healthy, engaged boards, are knowledgeable, secure, and experienced enough to know what they don’t know, and hire and cultivate a core group of young, empowered, wicked smart staff members who can learn all aspects of our trade, especially the critical importance of mission, then, together with front-line providers (whether interpreters or marketers or whatever), implement strategic plans with consistency. Such organizations tend to be exceptionally nimble and willing to take risks, understanding that some tactics won’t work, but the lessons learned from failure are often much more valuable than those gained by success. That’s because the informed connection between leadership and staff often creates a mission-oriented, team-based culture that stretches available resources, boosts donor confidence, and increases program quality, which all lead to positive visibility. Moreover, such organizations generate a sort of frisson that connects with guests — who often like being where history is on the edge.

As important, the leadership at these organizations recognize what is already going on in the broader business world: the “Gig Economy” has arrived and it’s probably here to stay. With 40 percent of the American workforce set to be freelance within the next four years, public history might already be well ahead of that curve, which poses as much promise as peril. The successful organizations that I’ve seen have already embraced that trend, seeing its potential. The best example is a historical society with a tremendous collection and exceptional vision that employs no full-time curator, historian, or education director. The most important long-term bases are covered (registrar, membership coordinator, etc.), but it otherwise reaches out to experts as needed. Need to catalogue a collection of 19th-century landscapes? Hire a guest curator whose expertise is 19th-century landscapes, rather than forcing a full-time curator, whose background might be in 17th-century stoneware, into a role for which he or she is not prepared. Want to put together living history programs to connect with guests about local events during the American Revolution? Bring in an experienced producer of such programs to establish the interpretative ground rules and set up a usable operations template. Want to be rescued from the wretched Past Perfect?  Tap someone with experience in our sector to handle your migration to, oh, Neon and teach you how to use it. Could use a biographical backgrounder on a historical figure for an exhibit? Connect with a historian, even a grad student, who knows the period and sources. And, given platforms like Slack (my current favorite) and Skype, episodic staff does not need to be on-site for many projects or, at least, for most of a project’s term. The result is a leaner, more flexible, and more accountable budget and, more to the mission-oriented point, fresher and more active programming in which the occasional staff can introduce perspectives gleaned from related experience elsewhere. The core full-time staff provide consistency and vision, while freelance experts inject cost-effective knowledge, skills, and insight. Another exceptionally effective organization follows a similar route, bringing in special program providers as needed, rather than increasing the level of FTEs for positions that might not be sustainable. Again, the proof of such an approach is in the clear health of those institutions.

The Gig Economy does have clear drawbacks. People need health insurance, personal and financial stability, and at least a shot at a comfortable retirement. But I’m pretty sure it’s not going away, especially in our space. Many museums and heritage organizations, large and small, are already engaging in it, even though in more limited and less conscious ways. As more of them work smarter to understand it as a long-term trend, and smaller ones that are already understaffed recognize its benefits, the demand will grow. What’s needed is a way to foster the interaction. Groups such as the AAM and NCPH have Job Opportunity listings for varying types of work, from full-time to project-based, but I believe that a dedicated database of experts — think a museum and public history version of Fiverr — would go a long way toward improving gainful employment chances for our students and colleagues. Such a collection would include the nature and scope of one’s expertise, experience, and qualifications, and clearly note rates (even if negotiable) for targeted work. With an organized effort, health and retirement plans can be negotiated. And we all have plenty of stories of just how targeted projects, done well, often lead to full-time, or even just regular, employment.

This concept isn’t new — genealogists have been especially active on this front for decades. A larger and more detailed scope, however, to comprehend the entire field, and a clear commitment to facilitating the connections between curators, historians, preservationists, exhibit developers, etc., and those organizations who need their help, is somewhat novel and, I think, essential for actually giving our students the opportunities we have already promised them for years.

Making a Public Historian: The Contract

This year for my course on the Practice of Public History we’ve introduced Master Classes, which have given our students the opportunity to learn directly from some of the best practitioners in the field.  But because I want to make sure that my folks understand that public historians practice their craft in a dizzying variety of contexts, often far away from museums and historic sites, our presenters this term have been documentarians, broadcasters, and authors: Ric Burns, Susan Swain, and Tony Horwitz, so far.  The best Master Classes, of course, are those in which everyone learns, including the instructor, and ours have borne out the truth of that statement, as Ric, Susan, and Tony have augmented our reading, thinking, and discussions in considerable ways.  That’s especially true because this semester we set ourselves the collective task of constructing a more effective vocabulary for talking about and explaining just what public history is and, more to the point, how it should be done.

One of the most striking concepts to emerge from our Master Classes has been that of the contract that exists between public historians and their audiences.  We had spent weeks talking around it, with the occasional rhetorical dive into the duty of the public historian to historical truth.  We read James Sheehan’s principles of historical practice and Rolph Truoillot’s exploration of “pastness” and the importance of narrative, along with various descriptions of connecting theory to practice in books like the Anarchist’s Guide to Historic House Museums and others.  We’ve had a number of conversations about the unspoken promise that public historians make with their guests, at a museum or historic site or even through a website, about the underlying integrity of their information and interpretation.  And I’ve shared one (or six) too many stories of my own experience about learning to be a public historian from some of the best in the business, a tutelage that always impressed on me the signal importance of “getting it right,” and then learning how to make that education engaging, even entertaining.

But words like “duty” and “promise” can be pretty vague, which is why I was struck by the succinct and subtle power of the word “contract” and how it applies to a public historian, as described by Ric Burns during his Master Class last week. Ric, as one of America’s premier documentarians, explained the intellectual framework that guides his craft and that should apply to everyone in the “guild” of historical storytellers, all of us in the business of explaining the past to the present.  Ric has an implied contract with his audiences that every scene he puts on the screen, every talking head he puts in front of their eyes, and every fact that supports his narrative are true to historical method.  Given the extraordinary, even visceral power of the medium of film to inform and persuade about our historical memory, Ric recognizes and is shaped by the tremendous responsibility that imposes on us to, first and foremost, do no harm in mishaping that perspective for others, and to further ensure that it accurately adds to our understanding of people who can longer speak for themselves.  It’s a contract between him and the audience that what they see will be historically correct, insofar as he is able to deploy every resource to ensure it.  It’s a high standard, but one that separates the historical documentarian and author from the narrative filmmaker and the novelist, who can invent.  We cannot invent, but only fill in the gaps of what we don’t know with the most informed and authentic of imaginations.  We can evoke, but not create.  Moreover, there is considerable power in breaking that contract, crossing that invisible yet critical line, because — as Colleen Dilenscheider reminds us — mission, integrity, and reputation are our greatest, but most delicate, assets, and once lost, for our guests and donors, almost impossible to regain.

Susan Swain reinforced this notion in her Master Class on Tuesday by explaining the seriousness with which the entire team at C-SPAN — which really should be called the Public History Channel, given the nature and scope of their historical programming, from a series like Landmark Cases to highlighting small museums and artifact collections on their famous traveling buses.  C-SPAN’s rigorously mission-based approach to all projects depends on fairness, transparency, a commitment to not distort any viewpoint, and a devotion to public involvement (not a bad rubric for the practice of a public historian).  And that demands accountability, from staff as well as audiences, to hold them to their core mission, because, again, any departure from it — even by a camera operator — could undermine confidence in the entire venture, and invite erosion of support.

These two complementary examples, which reinforce our readings and discussions, have made a considerable impression on me as both an academic historian who works on loyalists in the American Revolution and as a public historian who attempts to help heritage sites develop survival strategies.  And I hope it has helped sharpen the focus of my students — all of whom are in the midst of writing their own contracts as an assignment.  But it is on the side of accountability that has the broader utility of the contract, whenever any of us sees a historical program or visits a heritage site.  How do they represent the contract? How much are they willing to bend its terms, or ignore them altogether?  Is “accurate-ish” an acceptable standard for an institution ostensibly committed to helping the future learn from the past or is everything up for grabs, including historical standards, when faced with declining revenue?  Or, upon breaking the contract, in furtherance of whatever other goals, should the words “history” and “heritage” be revoked, or at least put into inverted commas, when applied, or misapplied, to an organization?  That is a question for audiences to ask, and a valuable one at that.  And that, perhaps, is what makes, and breaks, a public historian.

Gut Check Time for Historic Preservation?

History has become a problem. Or, rather, our collective history has splintered into a number of problems that have transformed the word, so deeply have historical legacies seeped into prismatic dimensions of American life. Those legacies are not merely, or perhaps any longer, the purview of seemingly cloistered academics stretching for relevance on a broader stage, but the business of us all, so nearly have the implications raised by our oft-misshapen memories impacted what amounts to our shared experience, creating a truly public history, full of contested perceptions and incompatible priorities.

Nowhere can this be seen more clearly than on our college campuses, from Harvard Law School’s rejection of its crest because of its implied endorsement of the institution that enslaved the men and women who made possible the wealth that established the school, to Stanford’s new guidelines for naming streets and buildings, starting first with any that reference the “mixed legacy” of Junipero Serra (mixed is putting it mildly, since the Catholic Church made him a saint), to Amherst College casting aside its unofficial mascot, “Lord Jeff,” because of Jeffrey Amherst’s likely employment of germ warfare against Native Americans in the eighteenth century. The entire basis of the powerful and pertinent #BlackLivesMatter movement rests on the ways in which America’s past has been remembered and projected and, worse, buried. With all due apologies to the esteemed Andrew Bacevich, this is the real “History That Matters” — and it is very public, indeed. All this while, paradoxically, a clever musical that celebrates the same elite white men who are largely responsible for that history, regardless of casting choices, is gripping America’s modern cultural elites.  Add to that the fans of television programs (good, such as Underground, and bad, like Turn, and indifferent, such as Downtown Abbey), movies, books, and the hundreds of millions of dollars poured into heritage tourism every year, and public interest in history–or at least entertainment based, however loosely, on it–has rarely been higher. Nevertheless, we seem to be doing more than holding a candle to our historical shames; we are shining a spotlight on them and do not like what we see, even as we hum “Who Lives, Who Dies, Who Tells Your Story.”

So it might be time for a gut check of sorts for Americans to sort out our heritage priorities. What should be castigated? What should be celebrated? What should be preserved? And what should be, both figuratively and literally, cast aside? In the end, what is modern historic preservation all about when we think of it in terms of events and ideas, as well as structures and landscapes?

This is the right time for such a discussion as the decisions might soon be made for us, whether we like it or not (and not just because I’m teaching a course on it over the Summer Semester). “America’s Best Idea” has created one of America’s worst headaches in a $12 billion backlog of maintenance at our National Parks, and might result in widespread privatization–or worse–within the next ten years as that number becomes only more intractable. But with a crumbling domestic infrastructure, who is to say that Joshua Tree National Park deserves scarce discretionary government funding more than, say, Flint, Michigan? And what about those sites that represent a person, an event, or an idea — the very importance of which, such as Minute Man National Historical Park, draw hundreds of thousands of visitors each year in search of both the sense of place and the sensibility of it, the story that it has to tell us, thereby placing even greater budgetary pressure on already limited resources that groups like Minute Man NHP’s Friends work, with widely varying degrees of success, to alleviate?

Those are, strictly speaking, the public places, which directly depend on tax dollars to preserve. There are also the thousands of other heritage sites that indirectly depend on public trust through their non-profit status, and therefore also possess a public responsibility for the privilege of not paying taxes, all in support of a mission to protect something of importance to our heritage. To ask whether there are too many of them misses the point, for there are as many of them as our heritage priorities will support–and there are more heritage sites than there are McDonalds, which suggests that our collective appetite for history is strong. They need help, too, although the crisis facing them is not as clear cut. The fortunes of small organizations, like the splendid Alden House in Duxbury, Massachusetts, largely ebb and flow based on the knowledge and sweat equity built by boards, staff, and members. They don’t require legions of consultants they can’t afford, anyway, but targeted advice to help them raise necessary funds and effectively deploy them, especially those outside of major urban centers and those that have trouble conveying both the sense and sensibility of relevance (they can start by picking up the Anarchists’ Guide and ask questions of themselves).

But what works for Plimoth Plantation or the Newport Historical Society or Drayton Hall will not work for the Royall House and Slave Quarters or the Golden Ball Tavern Museum or the terrific Menokin Foundation (check out its new website). In the first place, heritage sites have less in common than one might think, and not just in terms of the obvious things, like money or visibility or accessibility. They are also strikingly different in purpose, governance, and ambition (take the Alden House, the narrative of which was already more or less written by Henry Wadsworth Longfellow) — and therefore require different survival strategies. In any case, they each must be considered on their own terms to determine what, if anything, ails them and the proper diagnosis for treating them.

It is in that diversity that our collective challenge lies. Given the nature of what might be considered a new public history, historic preservation cannot just mean buildings or battlefields, however “hallowed” they might be. As my students are teaching me, it must be an ongoing community conversation about just what we intend to preserve, one that will focus our priorities and actively shape our memory, not as something stuck in the past, but as an active, engaging process of defining our commitments and informing our resolve. So perhaps Lin-Manuel Miranda is right after all — we should be asking “Who Tells Your Story?”, although it’s also time to start coming up with some answers.

A Not-So Bleak Midwinter: Old Sturbridge Village and the Power of the People

As Divine Providence — or, in this case, my doctor and the fine folks in Sports Medicine at Spaulding Rehab — have sentenced me to several days of physical inactivity and a few sessions with my new best friend, Hydrodocon (Lesson: friends do not let *older* friends try to jump large horses over tall obstacles), I figure I could use the little coherence I retain to summon up a productive blog post. Of course, I could spend it railing against the latest Colonial Williamsburg crime against its donors (You have to admit, they keep setting new and interesting standards. I mean, having the Marquis de la Fayette directly solicit contributions almost 200 years after his death puts a whole new spin on “The Future Should Earn From the Past”), but I’ll leave that as a bottomless pit of fodder for discussion with my students as we proceed through the semester. I could also go into the ongoing saga that is the joint attempt of me and my terrific TA to come up with ways to productively use Zoom to promote in-class interaction, or continue to plan for our Public History Master Classes, with folks like Ric Burns and Tony Horwitz, which are coming up. Or I can wonder how a talk I timed at 45 minutes to give last Sunday for the Friends of Minute Man National Park (who are doing terrific things, by the way) wasn’t over at the 90-minute mark. But, instead, before it fades farther into my personal past, I wanted to share my observations about a visit to Old Sturbridge Village (OSV), just a few weeks ago.

Now you might well say, with no little legitimacy, that it’s not fair for me to hit a heritage site during the so-called “slow” season. Especially these days when almost all I can do when I see such sites is calculate donor and guest efficiency ratings, from parking to signage to guest services to site maintenance to, well, you know the drill. My students certainly do at this point. I keep thinking about mission, experience, and sustainability, almost in that order. Of course, it doesn’t make for the most magical time for my wife or our dog, but, in the end, if a donor — whether of one’s time, in visiting, or of one’s money, as a member or higher contributor — loses confidence in a site’s ability to achieve its mission, then the game is, more or less, up. Moreover, despite a lower level of programming, it’s not like we were charged a seasonal rate for the experience, so why not? If they’re not giving guests a break for their slow season, why should I give them a break? We’re paying the same price whether we were there in July or January (I think). What’s more, I’ve been a bit unfair to OSV in the past, judging it more by its not very pretty 990s than by the total experience. So I thought we’d take the plunge.

As my own students are putting together their site evaluations for our class, I’ll reveal a bit of my own process. I first looked at the online presence of OSV, including its social media feeds and mobile optimization, to find out what I could about the guest experience — how easy it is to find the prices, the programming schedules, a rationale for visiting at all — and the institutional history, mission, and vision of the place. In other words, to answer the questions of why we should visit, how we will find it, how much it will cost, and what should we find when we get there? And once I got through all that, and tasked Bring Fido to help us find a pet-friendly hostelry, it was off to the races. But I must admit, having done my usual homework, that I was not brimming with enthusiasm when we stepped out of the car and made the short trek into the Visitor Center.

I won’t bore you with the play-by-play of all the evaluations that I did in my head, and notes I took on my iPhone, over the course of our visit. Suffice to say that OSV is a quirky place, a town that never really existed, literally constructed out of buildings and materials from across the northeast to roughly represent Jacksonian New England. In a bow to modern interpretive methods, it was nice to see, both onsite and online, the stirrings of a master narrative: to represent a typical Massachusetts village in 1838, as America’s version of the industrial revolution and stirrings of Manifest Destiny were beginning to transform almost every aspect of society. But that is a nicely coherent guide that should serve them well in developing programming, marketing, and targeting audiences. The tickets appear to be set at a nice price point, especially with the addition of an optional free extra day and the chance to take the price off the cost of basic membership. It shows confidence in the experience, which was largely self-guided through the buildings bedecked with explanatory panels that generally supported the narrative, although the number of missed opportunities grew as we encountered one silent, roped-off room after another, some of which tried very hard to (like at the Parsonage) assign a fictional role to a building the architecture of which was telling a much different, and perhaps more interesting, story, while others completely ignored the historical elements of the buildings (such as the textile exhibit, which was devoid of any real discussion of the people who gave life to both the house and the materials). And a few attempts at soundscapes or using Guide By Cell recordings fell flat. Regardless, one understands what OSV is trying to do, even if the guest experience, when left to one’s own devices, is uneven and a little narrative development, to tie together the whole site and its components and means, would go quite a long way.

On the ground and, I strongly suspect, in the Board Room, OSV has some serious issues to address, as the 990s and media coverage of a new charter school suggest. And there are the obvious problems, like material culture exhibits on glass and other objects that are eye-wateringly out of date. A considerable amount of deferred maintenance is glaringly apparent and the wretched “tavern” buffet was not one I intend to ever revisit. We also appeared, as paying guests, to have been in the minority of visitors, since most others we encountered wore member stickers. However, as I continuously counsel sites to use the “off-season” not as a chance to take a break, but as an opportunity to develop closer ties to core audiences (members and the local community), I can hardly see in that anything more than a trend for OSV to examine in terms of effective ways to address seasonal visitation patterns. But these are hardly hidden horrors and, for the most part, are not cheap to fix. I suspect that OSV’s leadership is keenly aware of the weaknesses and looking for the necessary funding to strengthen them.

But as quirky as OSV is as a, let’s face it, entirely fictional heritage site, and as clear as its shortcomings, it was not long before we encountered OSV’s greatest strength, its real power: its people. From the ticket booth and gift shop staff to the costumed interpreters and the tradespersons, I don’t know that I’ve ever encountered such a uniformly polite and, I can’t think of a better way to put it, genteel set of people — and I’m from the Chesapeake. Everyone had a smile — even when it was cold and about to rain — and a generous greeting, whether they were recommending (delicious) cookies or pointing out directions. Whatever emphasis they have placed on guest services as a key point of creating a positive experience, it has worked. Or maybe they just happen to hire the nicest people in New England.

Perhaps more important, though, as a reflection of the institution’s strength — its sustainability, the ways in which donors can rely on it to maintain and build quality programs — was in the quality of its interpreters and tradespersons. I maintain that is the single most important investment that a heritage organization can make: hire talented people, train them well, support them with good leadership and clear direction, then let them fly and watch the real magic happen. Granted there were rather few interpreters about when we were there, and they all appeared to be doing several different jobs on any given day. In fact, on Sunday, what must have been the hardest working woman in the public history world led four of the five programs we attended — and each required a different interpretive method. But they were all solid, engaging, accessible to a range of audiences, and supportive of the narrative (except perhaps for the shaky first-person program, which, in her defense, is the trickiest of all methods, but her “In the Moment” program on nineteenth-century fashions was stellar).

We were also fortunate enough to have been there for a talented artist’s program, who explained the nineteenth-century rage for profiles and created one — with striking speed — for any and all who wanted to sit (her Not-Quite-In-The-Moment persona [she was and wasn’t in 1838], which usually would have annoyed me, actually worked for the program, or at least it worked for her and the guests, so what difference does the rest make?). Then, of course, there was the Tinsmith, proving the universal point about the enduring value of supporting Historic Trades, preserving artisanal crafts while engaging guests in the process (Just perfect for discussing and demonstrating changes brought on by American industrialization, by the way). But, as in everything, it’s the unexpected that makes the greatest impression and OSV was no exception: a program about logging, of all things, in early America had me hooked for half-an-hour, learning about such things as how to turn a tree into a beam for a house frame. It was terrific, and I can barely handle a hammer without hurting myself. There are few higher compliments that I can pay to an interpreter than that she or he knows her or his stuff, and can communicate it without being pedantic or, worse, boring–all of OSV’s interpreters and tradespersons I encountered fit the best of that bill.

In the end, all of this is about gaining and maintaining donor and visitor confidence that what you see (the mission, the message) is what you’ll get (in the experience). That often comes down to one question: would you come back? Having already given a dollar (or $56, in OSV’s case, and that was before we hit the splendid gift shop), would you give another to them to help them keep doing what they’re doing or, hopefully, do more? My answer is a resounding YES. There’s lots of potential at OSV, telling the story of an oft-neglected yet critical moment in the making of America, and I have high hopes that they’ll hone the narrative, help it inform the programming, support the interpreters and other frontline staff, tighten the ancillary activities, and build an audience-base strong enough to serve as a foundation for growth —  all without a pirate or a musket range in sight. We’ll certainly be back and hope to see you there.

My 2015 End-of-Year Heritage Giving Recommendations

2015 has been a curious year for heritage institutions, one that has generated fundamental questions about what they do and how they do it. We have seen the spectacular, the exciting, the innovative, the bizarre, and the inscrutable (sometimes all wrapped into one), which have sparked necessary and long overdue discussions of the ways in which we preserve the past–including, importantly, debates over whose pasts are worth preserving. And I don’t mean that as part of some tiresome, pseudo-intellectual conversation about the construction of multiple memories, but, rather, an intense consideration of the point where it really matters, when money changes hands and real-world decisions are made over the present and future of buildings, landscapes, and people. Moreover, thanks to the IMLS, we have a much better idea of just how many history-related organizations there are (an eye-watering 19,000 of them) and the wide variety of forms they take, from house museums and “living history” farms and local historical societies to podcasts (Ben Franklin’s World and the Bowery Boys are my faves) and Instagram feeds. We also know that the vast majority of them increasingly face demands to do more with less as donors change the way they make financial commitments, looking more to organizations that have a clear, relevant mission and can be relied on to stick to it, as well as preferring targeted projects, including those highlighted on sites such as Kickstarter and Indiegogo, to general fund contributions.

I know this because one of the things I do is counsel donors, large and small, about heritage sites that are worth their investment and those that are toxic. The hundreds of millions of dollars regularly contributed or granted to such organizations are an enormous part of public history–the business side–and it is rarely taught, but the business of public history is critical to a proper understanding of the ways and means of practicing it. Of course, the primary returns one expects from investing in a heritage organization cannot be counted in a monthly P & L report. Once the mission statements of our very particular kind of non-profits become a thinly disguised collective synecdoche for customers and profit margins, then the game, as Belarius says, is up. At that point self-preservation, even on the institutional level, replaces historic preservation. But the ability and capacity to deliver the intangible returns that are, and should be, at the core of every heritage organization’s raison d’être certainly can be gleaned from P & L reports and the like. Consequently, a close examination of the business side of the field helps us shed light on one of the biggest questions raised in 2015 about heritage organizations and, therefore, heritage fundraising: are there just too many of them? Of course, as my experience in academic history, public history, and politics (both my successes and, often more so, my failures) tells me, that’s a question only the market can answer (Lenin got one thing right: people vote with their feet, or maybe with their debit cards these days).

In any case, as I sit here in unexpectedly balmy New England, in the glow of our lovely Christmas tree, listening to our dog’s oddly comforting snores, and being reminded by everyone from Charity Navigator to each of my alma maters that December is the biggest giving month of the year, I figure it’s time for me to create my annual list of heritage institutions worth your consideration (every year I put together a private version of it for a set of high donors and occasionally make parts of it public — think of it as a  Morningstar report for public history). This is, unsurprisingly, weighted to the Northeast and doesn’t claim to be comprehensive. And it includes sites to which my family has donated in 2015 or made 2016 commitments (denoted with an asterisk). There are only two other points for your consideration. First, as part of my ongoing effort to build a better language for the practice of public history, I take a broad church approach to what that term means. Public history can reflect a genre (tennis) or a trade (boatbuilding) or a concept (civic education) or another sort of idea (civil liberty), as much as it is about bricks and mortar (or, maybe, wattle and daub). That is largely, I suspect, a reflection of the factors that are shaping donor behavior, as they become increasingly wary of institutions that stress “experiences” over missions. Consequently, the below organizations are crystal clear when it comes to what they’re all about, which can make the difference in how many zeros a Development officer adds after a number on a pledge sheet. Second, it would be less than candid of me to suggest that absence from this list is nothing more than that. For some, absence is simply a matter of practicality — I visit, crunch the numbers (I have created a collection of metrics that probably would bore anyone this side of Bill James), evaluate the marketing and programming, and analyze the mission and mechanics of dozens of organizations every year, but I can’t get to them all, and making a recommendation based on insufficient data, and therefore inadequate evidence, would be irresponsible (I do, however, include an organization that I have not visited this year, but those reasons are clearly set out below). For others, I have a list of institutions to explicitly avoid that is part of my yearly private memo to heritage philanthropists, although I’ve hardly held my tongue, publicly, about organizations that I think donors should avoid and others about which I’m beginning to worry.

But this is the season for good cheer and, having just read “A Christmas Carol” with my family, I think I can manage to keep Christmas in my heart for at least another few days. Maybe I can even last until Twelfth Night. So on with the show, in no particular order.

Thomas Jefferson’s Monticello (Charlottesville, Virginia). Yes, a behemoth to kick-off the list. Monticello has–like the other two members of “The Big Three” (Mount Vernon and Colonial Williamsburg)–changed considerably under relatively new leadership. Leslie Bowman, who succeeded the courtly Dan Jordan on the mountain top in 2008, vastly expanded and enhanced the scope and depth of programming, reorganized internally, and has begun to recreate important parts of the Monticello community. The result has been a transformed visitor experience, both onsite and on-line, and enhanced scholarly endeavors (the new Mont Alto center is being put to fantastic use by Andrew Jackson O’Shaughnessy, a first-rate scholar) to inform them. From a variety of digital history apps and MOOCs and teacher education programs to an array of family-friendly experience packages, Bowman has done it, with the help of heritage all-stars like Gary Sandling (the single best practicing public historian in America, IMHO), without sacrificing the institution’s integrity or threatening its sustainability. That’s saying quite something given that Monticello’s guest acquisition costs are among the highest of any heritage site on the Atlantic seaboard (its donor acquisition numbers are much better, though). But one could ignore all that and still recommend Monticello for what it’s doing to, in an important sense, resurrect the enslaved women and men for whom that place was home, every bit as much as it was for Jefferson and his free family. And it’s not just the ongoing reconstruction of Mulberry Row, or the rooms reinterpreted to focus on the Hemingses and others who breathed life into them, or the apps built to project their memories into new media. That’s all part of it, of course. But the main thing is the courage to not only tell, but to honestly and earnestly embrace, their story, which is the single most important job facing historians of early America today, academic or public. As one of those historians, and one who has, moreover, taught the subject at the University of Virginia and recreated the lived experience of members of Jefferson’s extended family (his wife, Martha Wayles Skelton, and his enslaved valet, Martin Hemings) for first-person interpretation elsewhere, I know how difficult it is, but also how crucial it is to get it right. That’s why I think that whomever Monticello hires to fill its position of Public Historian for Slavery and African American Life will be in one of the toughest jobs in the business. It has also the potential to be among its most influential. Either way, that kind of commitment flies in the face of anyone who believes that visitor numbers and TripAdvisor reviews and surviving quarterly Board meetings represent the kind of success for which we collectively reach. As I have written about the splendid crew at Plimoth Plantation, Monticello’s path forward appears to be better history and more of it. That’s the kind of investment to make anyone sleep well who wants to go to bed knowing that their contributions will ensure that future generations learn what they absolutely need to know from our past.

Royall House and Slave Quarters (Medford, Massachusetts). From slavery in the south to slavery in the north, the Royall House and Slave Quarters represents what might well be the new breed of heritage sites: those that, with apologies to W.W., recognize the unique verse they each can contribute to the powerful play that is American public history and are committed to shouting that verse from the rooftops. I have encountered few more impressive heritage sites this year, as the staff and Board of this one are clear about their mission and aggressively pursue it, whether in a house tour or on Facebook. Somewhat similar in degree to the splendid Harriet Beecher Stowe Center in Hartford, the concept infuses an entire site that both housed Royalls and quartered slaves, and projects from there into a vision that seeks to inform debate and controversy on related subjects wherever they may be found–from Ferguson, Missouri, to Harvard Yard. From a more practical standpoint, a little will go a long way at this site. The core interpretation is more than sound, some terrific archaeology has been conducted, and the mansion house is a Georgian jewel, but physically the site is, well, challenged, given its extensive preservation needs and the fact that its location is less than guest-friendly (It’s perfect for Road Scholar and similar groups, though). So your contribution, of whatever amount, will not only be well spent by an informed leadership, but also of immediate use.

Plimoth Plantation (Plymouth, Massachusetts). This place makes me smile just thinking about it. As I’ve written before, Plimoth is the place to watch for what’s coming next in public history. It’s quite possibly the most dynamic site on the East Coast, with a clear, relevant mission and the right people in place to execute it.

IYRS School of Boatbuilding & Restoration* (Newport, Rhode Island). This entry on the list doesn’t represent as dramatic a change of gears as one might think. No, IYRS students and faculty wear no funny clothes and should not be confused with interpreters, and no guest will be asked for an entrance fee (you can watch them at work for free). Yet they are as public in their history and as active in their practice, and preservation and promotion, of our heritage as anyone who wears breeches and a waistcoat, or a petticoat and mob cap. A visit to their workshop, and to the massive historic yacht Coronet, which is being restored next door, is a must for any visitor to Newport who is interested in proper living history, and a donation, moreover, will further contribute to its sustainability by assisting students to carry those skills into the workforce or on to their own businesses.

Golden Ball Tavern Museum (Weston, Massachusetts). A work-in-progress, but one on the ladder of the new breed of house museums, the Golden Ball Tavern might be the most important heritage site you’ve never heard of, and the story it has to tell is another of those muted historical voices that need to be understood today if Americans–and, it must be said, Canadians–are to understand who were are, or at least who we might have been. Although the Royall House and Slave Quarters has its claim to part of the tale, the Golden Ball is set to become the epicenter for exploring the loyalist experience in Massachusetts, if not all of Revolutionary America. It’s all here — spies, patriot mobs, Paul Revere’s ire, an outspoken devotion to the rights guaranteed by the British constitution, and a boatload of unanswered questions about why and how Isaac Jones and his loyalist family, free and enslaved, successfully navigated the turbulent waters of the War for Independence and the Early Republic. Part of the fun of the Golden Ball is that neither Jones, a publican and Congregationalist, born and raised in Weston, and his immediate family don’t fit into the orthodox characterization of loyalists, suggesting, if not demanding, that our definition of that term is long overdue for refinement. Another part of the fun is the house and grounds, which have barely been touched in 350 years, having remained in the Jones family until it became a museum in the 1960s. Given that the staff and Board of the Golden Ball are just at the beginning of developing a new strategic plan for the site, and reorganizing a tremendous collection of manuscripts and decorative arts to better understand its residents, the sky is the limit. If there was a futures market for heritage sites, this would be my bonus buy. Any venture philanthropists out there? Oh, and did I mention that the Joneses are Henry David Thoreau’s family? The Golden Ball’s future, given the many different avenues its interpretation and development can take, and the dedication of its leadership, is as bright and promising as any heritage organization in New England. Moreover, its terrific Executive Director, Joan Bines, literally wrote the best book out there on colonial American language with her splendid Words They Lived By, so you know it’s on solid interpretive ground.

The Robbins House (Concord, Massachusetts). None of the sites on this list has a purely local history. Each is part of a broader narrative that is still emerging as we reshape and redefine and redetermine those pasts that now require preservation and projection. The Robbins House in Concord might be small, but it packs a wallop of an interpretive punch. On the one hand, this former home to generations of free African Americans is another side of the same interpretive coin told about the Minute Men nearby at the Old North Bridge, while, on the other hand, it is an extension of the arc that could begin on the Newport wharves or at the Royall House and Slave Quarters. Moreover, this organization is interesting because of its organizational structure: it truly is a community effort of the best sort, one in which the people of Concord appear to be determining what of their history deserves to be preserved and how. Given their historical track record, I’d bet that past performance is a reliable indicator of future returns.

Jamestown Rediscovery Foundation (Jamestown, Virginia). If telling the story of the Scrooby Separatists and Wampanoag at Plimoth is a challenge akin to throwing down a gauntlet, preserving the site of the first permanent English settlement in North America is a slap in the face. It’s tough to find, sandwiched as it is between the National Park Service and the James River (one has to actually go through the NPS Visitor Center just to get there), and almost impossible for uninformed potential guests to distinguish from the reconstructed Jamestown Fort next door. Consequently, visitorship is anemic and operating costs–as an active archaeological site, with all the staff, conservation, and interpretive expenses it requires–are high. And given that the actual Plymouth site (and Salem, and Boston, and…) is underneath almost 400 years of continuous habitation, Jamestown is all the more important for what we can learn from its remains and the ongoing search for more of them. The Jamestown Rediscovery Foundation, charged with managing the site and keeping the digs and stories going, is relatively new, assuming responsibility when Preservation Virginia and Colonial Williamsburg went their separate ways, after their five-year attempt to jointly oversee the site. But failure for this site is hardly an option. Fortunately, the Foundation is in good hands, with America’s premier historian of Jamestown, Jim Horn, now running the show, with Bill Kelso and a splendid team of archaeologists plumbing the fort’s depths (although it’s unfortunate that the magnificent Bly Straube wasn’t retained), and Lisa Fischer, who established Colonial Williamsburg’s innovative Digital History Center, exploring the potential for digital archaeology projects and  other outreach. The fact that Jamestown also represents the introduction of slavery into North America cannot be gainsaid. Consequently, this site is worth a closer look for your year-end contribution.

The Old State House (Boston, MA). Under the guidance of the visionary Nat Sheidley, The Bostonian Society is jumping headfirst into presenting engaging, informative, and–it can’t be overlooked–entertaining experiences for guests on Boston’s Freedom Trail. There are many heritage gems on the Trail, of course, such as the King’s Chapel (enthusiastic guides who deserve your support) and Old South Meeting House* (best use of static interpretation I’ve seen), and they would all benefit from greater cooperation to leverage their resources, but the team at the Old State House is breathing a new energy into interpreting the height of the revolutionary crisis in Boston. With nice price points and a rather strong donor efficiency rating, as well as a wide variety of interpretive options and programming to connect with diverse constituencies, the Bostonian Society is more than a safe bet for your philanthropic dollar.

Newport Historical Society (Newport, Rhode Island). While Boston has the Old State House to lead the interpretive way, Newport’s heritage is in splendid hands with the Newport Historical Society. The NHS has embarked on a range of interesting and engaging programming, with a variety of interpretive techniques, from costumed interpreters in the middle of its historic streets to programs in its impressive collection of colonial era structures, to tell Newport’s important history (the story of religious freedom alone is worth the price of admission), often in partnership with the tremendous Rhode Island Historical Society (which is doing interesting work of its own). And don’t take my word for it. You can gauge for yourself the infectious enthusiasm of the staff and leadership of the NHS as they leave no interpretive stone unturned to tell the stories that beg to be told on that end of Aquidneck Island. Just check out their website and see videos of past events and what’s next. I can practically guarantee that you’ll be sorry for missing what’s past and checking in regularly to find out what’s next. In fact, the NHS might leave every other heritage organization in the Northeast question why they close during the winter months and heritage tourists wondering why Newport isn’t on their list of places to return to every year.

Right Honorable Mentions

Whitney Plantation (Wallace, Louisiana). While this is the only site on the list that I have not visited, I do know Louisiana quite well. I went to law school in New Orleans and was a senior aide to one of its United States Senators for several quite formative and eventful years. I’ve also studied this site from afar, so I know both the boldness and necessity of a “plantation museum” solely focused on the experience of enslaved peoples. The sheer existence of this significant heritage site is worth one’s financial support. After all, while it might not take a sledgehammer to open a walnut, slavery in the American experience is no walnut, so I’m all for the interpretive sledgehammer that Whitney Plantation appears to be.

Menokin Foundation (Warsaw, Virginia). One for donors interested in preservation methods for our built environment, Menokin is certainly the most innovative and interesting of such sites. Forget about the Lees and Tayloes when thinking about this organization. The excitement here is all about the act of preservation and serves as a fascinating metaphor, and ongoing exercise, for what it might mean for protecting and interpreting less tangible reminders of our pasts.


Other 2015 Highlights

The International Tennis Hall of Fame* (Newport, RI).

Gilbert Stuart Birthplace & Museum (Middletown, RI).

The Edward M. Kennedy Institute for the U.S. Senate (Dorchester, MA).

Concord Museum* (Concord, MA).

Lexington Historical Society* (Buckman Tavern, Hancock-Clarke House, and Munroe Tavern in Lexington, MA).

Louisa May Alcott’s Orchard House* (Concord, MA).

Thomas Cole National Historic Site (Catskill, NY).

The Valentine (Richmond, VA).