Storytelling through Community-Driven Archives

Our unique approach to archival workflows is one thing that sets community-driven archives approaches apart from mainstream archival methods. Traditionally, archivists stick to access and preservation and leave interpretation and storytelling to the researchers. But what happens when we listen to what our audiences want? We find ways to help them tell meaningful stories about their communities’ history.

Our Core Audiences and Understanding What Matters to Them

Within our community-driven archives (CDA) project, audience means a lot to us. This has been true since the beginning of our grant project, and it is getting clearer as we head towards wrapping it up and sharing what we have learned.

Our project strives to support and amplify historical projects by and for communities underrepresented in institutional archives. Our priority audience is community-based archive projects: groups of people who are interested in creating an archival project documenting their own community. We also work with individual history keepers: people, like family genealogists and community organizers, wanting to document and share histories currently missing from dominant archives and narratives due to legacies of injustice.

While brainstorming for what will go on our new project website (coming soon), our team looked at all the tools and resources that we have created with our project partners since the start of the grant. We asked ourselves, what kinds of resources are most useful to our core audiences?

Title page of Storytelling webinar with UNC logo
Learn about documentary storytelling in this CDA webinar with Theo Moore of Hiztorical Vision Productions.

We noticed that one of the most common resource requests that we receive from our community collaborators is for more tools about storytelling. In response, we have created new resources on topics like “the art of storytelling” and “how to create an exhibition.”

But what do we mean by storytelling and why should archives professionals care?

Making a Case for Storytelling in Community Archives Projects

Archives have historically prioritized the access and preservation of historical records over the interpretation of history, leaving the latter to researchers. For community archives projects, we believe it must be different.

Community archives projects address gaps in the dominant historical record and complicate mainstream historical narratives. Communities want their stories told on their own terms. Through building an archive, the collecting of history supports the (re)telling of it.

In many cases, the stories uncovered through community-based collections are not otherwise known. Due to legacies of racism, settler colonialism, patriarchy, and other forms of oppression, histories by and for Black, Indigenous, people of color, women, and LGBTIQ people have been hidden or silenced. As a result, beyond building their collection, many history keepers also want to broadcast the stories they’ve researched and curated through their archive. Many history keepers want to control how their community’s stories get told, rightfully questioning outside researchers’ and institutions’ motivations.

a museum exhibit with a backdrop of a church featuring men's and women's clothing on two mannequins near a table of historical artifacts
One section of the EKAAMP, one of our pilot partners, exhibition on the Eastern KY Social Club, 2018.

Our collaborators and partners share their communities’ stories through a variety of methods: exhibitions, public programs, websites, social media and blog posts, documentaries, short videos, and more.
We believe that archival professionals like ourselves working with community archives projects must consider the importance of storytelling. Through community collaboration, we have the opportunity to support both the safeguarding and sharing of stories.

Ideas for Archival Institutions

Since the beginning of our community-driven archives project, our work has extended to train and resource history keepers to share stories they uncover through developing a collection.

Oral histories easily lend themselves to exhibitions and other vehicles for sharing stories with visitors. Members of our team have trained local history keepers to conduct oral histories as a path to preserving memories. From there, we have worked with our community partners to incorporate oral history clips and collections materials into physical and digital exhibitions and short documentary videos that narrate important stories. One of our pilot partners, the Appalachian Student Health Coalition, created a web-based storytelling project that draws on video interviews and data visualizations to share its members’ contributions to rural healthcare in Appalachia.

Through our Archival Seedlings program, we help our ten resident Seedlings develop an archival collection and share their historical project with chosen audiences. For some Seedlings, the websites, videos, blog posts, and exhibits they create to highlight their collection are the only places their audiences can find those histories. While some Seedlings are working with traditional institutions and repositories to preserve and share their finished projects, others are choosing to keep their collections with history keepers in their own communities and to take on project promotion and outreach themselves.

A Black person seated in from of a sign in the background reading "Swift Memorial Jr. College Reunion"
Stella Gudger, Founder of the Swift Museum in Rogerville, TN, from Archival Seedling William Isom II’s interview with her.

One Seedlings participant, William Isom II, is compiling a collection of video interviews with alumni from the historically Black Swift Memorial Institute in Rogersville, TN into a video that will be on view in the museum located on Swift’s historic campus. In addition, one of our pilot partners, the Eastern Kentucky African American Migration Project (EKAAMP) has recently launched an exhibition sharing the oral histories and archival materials it collected through community-based research. These are great examples of how a collection can be “put to work” to share stories.

Storytelling Resources

Storytelling resources are available along with other related tools and trainings on our website.

For more about community-based archives on the Southern Sources blog:

What’s in an Archive? Deciding Where Your Historical Materials Will Live

The Community-Driven Archives Project at UNC-Chapel Hill is supported by a grant from the Andrew W. Mellon Foundation.

Follow us on Twitter @SoHistColl_1930 #CommunityDrivenArchives #CDAT #SHC

Presenting “Gone Home: Race and Roots through Appalachia”

Intro PanelOver the last few years the SHC has been collaborating with Karida Brown (Ph.D. candidate at Brown University) and many Appalachian families on the Eastern Kentucky African American Migration Project (EKAAMP), which documents peoples’ lives in eastern Kentucky and their tale of migration into and out of the communities there. The wonderful stories shared by the endlessly generous people who grew up in these small towns inspired the creation of Gone Home: Race and Roots through Appalachia–an exhibit hosted in Wilson Library’s Melba Saltarelli Exhibit Room.
The exhibit explores an often forgotten part of American History. It shares part of the story of the Great Migration of African Americans out of the Deep South and into coal mines of Appalachia. After the mining industry collapsed, the people who grew up there left again. The exhibit explores what home means to a community that sometimes spent only one generation in Appalachian America.
 
The exhibit opens on Monday, and we hope that during its life you’ll come to share our enthusiasm for these stories. You can learn more about EKAAMP on its website, and we hope to see you here between April 27th and July 31st 2015.

Wilson Library Exhibit Tracks Worldwide, Historical Travels of Southerners

An American traveler in the 1850s journeyed the globe not by plane, but by boat and train, without telephone, radio receiver, or photo identification. A 15.5-by-10.5-inch passport from 1855 reads “nose — small, chin — large, hair — gray,” among other physical descriptions. The passport belonged to William Elliott and his daughters, who traveled to Paris before photography was in common use.

That passport, along with letters, photographs, maps, diaries, account books, and menus spanning the nineteenth and early-twentieth centuries, are part of Southerners Abroad: A Look at Southerners’ Travels Around the World. The exhibit opened in Wilson Library’s Southern Historical Collection (SHC) August 8, and will run through October 15, 2008.

Drawing on the SHC’s unique holdings, Southerners Abroad explores the wide variety of Southerners’ experiences abroad, shifting the traditional focus of the SHC away from the geographical southeastern United States to the world at large.

“I personally want people to know the Southern Historical Collection has more than they would think,” said UNC junior and student assistant Kelli Landing. Landing worked on the exhibit with Barbara Ilie, research and instructional services assistant; Robin Davies Chen, assistant manuscripts reference librarian; and Matt Turi, manuscripts reference librarian.

Landing’s favorite exhibit material comes from the Turner sisters, North Carolinians who were working and studying abroad in the 1930s and 1940s – when passports did include photographs. “I love that as women they traveled by themselves. That’s unusual,” Landing said.

One of the Turner sisters’ passports is displayed in the exhibit and is a window on gender relations at a time when most travelers were men. The passport contains a space for writing one’s name, and beneath it, blank spaces following the phrases “accompanied by wife” and “minor children.” These spaces are filled with X’s, emphasizing her position as a woman traveling without male accompaniment.

Other items in the exhibit include colorful menus offering hearts of lettuce and brains “as you like them” for $1.50; hand-tinted photographs given to American missionary to Japan, John C. Calhoun Newton; and letters describing hyenas and lions on the camp of Egyptian army engineer Samuel Henry Lockett.

“Traveling back then-in the nineteenth century-there were many things to fear,” said Barbara Ilie. “I encountered someone who feared yellow fever. Others had issues with loneliness. I had someone waiting literally for the monthly mail boat. The technology difference is astounding.”

Southerners Abroad is free and open to the public. The exhibit is on view in the Southern Historical Collection on the fourth floor of Wilson Library on the campus of UNC-Chapel Hill. The Southern Historical Collection is open 9 a.m. to 6 p.m. weekdays, and 9 a.m. to 1 p.m. Saturdays. For exhibit information, contact Matt Turi, 919-962-1345.