View from the Field: The Challenges to Being Inclusive in Museum Collections

Annie in the Mississippi Delta, 1920s. Photo credit: From the private collection of Marian Carpenter.

The quest for museums to be diverse and inclusive in staffing, leadership, and programs is not a new challenge. At a recent American Alliance of Museums (AAM) annual meeting, Dr. Johnnetta B. Cole, former director of the Smithsonian National Museum of African Art, delivered a landmark keynote that challenged museums “to be of social value by not only inspiring but creating change around one of the most critical issues of our time—the issue of diversity.” Cole’s speech compelled AAM to recognize the need for diversity, equity, accessibility, and inclusion to ensure that the field remains relevant and sustainable.

In response to the need to be diverse and inclusive, museums, historic sites, and related institutions have written strategic plans that promise to include all voices, cultures, and histories in their board membership, staffing, policies, educational programs, collections, exhibits, and events. Efforts to make museum collections more diverse and inclusive, however, have been slow and problematic. Why? The biggest contributing factor is the lack of diversity within curatorial and collections departments. According to the 2018 Art Museum Staff Demographic Report, produced by the Andrew Mellon Foundation and Ithaka S+R, the number of employed curators who are people of color is 16%, compared to 84% of curators who identify as white. Museums with specific cultural and ethnic collections often do not hire curators, collections managers, or registrars representative of the cultural origins or background of these collections; nor do they establish meaningful relationships with diverse communities.

Throughout my 23-year career in the museum field, I have experienced several occasions where I have had to defend appropriate cultural representation in the areas of object interpretation, documentation, and care. I will endeavor to describe three incidents at various levels within my career where I have had to tackle challenging scenarios around proper cultural representation of difficult objects, overcome personal trauma and emotion associated with racially sensitive objects, and combat discrimination within historical collections. These specific accounts are shared in hopes of motivating my colleagues working in the museum field to be aware of these issues around inclusivity in collections, spark discussion, and speak up in defense of proper cultural representation.

Appropriate Interpretation of Racially Sensitive Collections

Newly established in my career and armed with the scholarly lessons that earned me my graduate degree in history with a special emphasis in African American history, I thought I was equipped for the curatorial responsibilities neatly outlined in my job description and evaluation. However, there were no university courses or examinations that could have prepared me for the encounter that I had with the chief curator involving the display of racially offensive African American toys that dated from the 1930s and 1940s. The museum didn’t know quite what to do with these toys and how to interpret the sensitive subject of race. Before my arrival, these toys received very little attention and care. They were stored behind different objects as if they didn’t even exist. In fact, the small African American collection that was housed at the museum had been overlooked and no additional funding was allocated to support the growth of this collection. My predecessor was tasked with developing a gallery designed to highlight the history of African Americans and this task left her very little time to grow and care for the collection.

My responsibility as curator of the African American collection was to acquire new objects through loans and purchases as well as interpret and develop exhibit displays that would appeal to the museum’s targeted audience: children. My assistant and I worked with the museum registrars to properly document the collection, including the racially offensive toys. In planning for several upcoming exhibit displays to showcase the African American collection, one of the chief curators asked me to incorporate the racially offensive toys into the exhibits. Because of the sensitivity of the subject matter and the possible lack of understanding by children along with the potential to offend parents, I turned down the initial suggestion, offering several justifiable reasons.

The “Be-Bop” toy from the 1950s. Image credit: Jim Crow Museum, Ferris State University.

Eager to create a teachable moment for both my colleagues and museum visitors, I provided the chief curator with an alternative way to showcase these toys. I volunteered to develop an interactive program that would allow visitors to learn about the negative stereotypes that were attributed to African Americans and recognize how these toys contributed to prejudices and discrimination that were taught in American popular culture. Because the program would be geared toward children of all ages, I explained that this would be a great teaching moment to demonstrate the importance of respect for all cultures and ethnicities. I was shocked that the chief curator didn’t share my ideas nor was she interested in expounding on the history of negative representations of African Americans. She demanded I place the racially offensive toys in the exhibit displays. Was this really happening? What book or guidelines could I reference to stop this insensitive act? What about all of the meetings that I attended that encouraged me to display African American objects and to develop exhibits that celebrated the historic achievements and culture of African Americans? I can’t remember how many days passed before the chief curator and I discussed again the usage of the racially offensive toys. I do recall that when we spoke, I warned her that this plan to display these toys would shatter the relationship between the museum and the African American community. She responded by telling me “maybe that’s the type of attention we need from the African American community.” Stunned by her answer, I told her that I would not display the toys. The chief curator was secure in her decision. I asked another African American museum colleague for advice and she was prepared to alert the local news stations. My connections with the African American community gave me the support I needed to challenge the chief curator. The museum was spared any unnecessary publicity and the racially offensive toys were not exhibited. Was this a victory, or was I unearthing the reality that some of the curators in this museum were not willing to accept inclusiveness?

Learning Points: As a member of the collections and exhibition departments in your museum, you have a duty to interpret cultural collections truthfully and with respect. Never compromise your integrity due to the pressures of colleagues who may not share the same ethical understanding or responsibilities. Always look for teachable moments to enlighten colleagues and the public when dealing with sensitive materials. I can’t stress enough the importance of building meaningful relationships with communities that are not appropriately represented. Their support and trust will be key to measuring the museum’s goal to become more inclusive.

Receiving and Processing Racially Sensitive Collections

After working in the museum field for over 12 years as a curator and registrar, I considered myself well experienced. I had the awesome opportunity to work at several different museums which allowed me to manage and exhibit a number of diverse collections that represented American culture. My interest and ongoing training in public history gave me the advantage in connecting with local African American communities to help them preserve and interpret their histories. I received invitations from colleges and universities, including historic Black institutions to teach and mentor students about museum careers with a special focus on professions as curators, registrars, and collections managers. I mostly appealed to history students and emphasized the importance of object documentation.

Throughout my career, I have processed hundreds of racially sensitive objects and my ability to identify and research these collections became second nature. I was accustomed to documenting objects that were both uncomfortable to look at and to discuss. I often had to console many donors that were uneasy about having these racially sensitive objects connected to their families and thus many of these donors opted to remain anonymous. However, I never expected that a particular donation would almost hinder my ability to fully document an object.

In routine fashion, I accepted a call from a donor that wanted to remain anonymous. Emotionally distraught, the caller informed me that she had found a post card while cleaning out the home of an elderly relative. She was utterly disgusted to know that the relative had saved this particular item. I assured her that the museum would accept the post card along with any historical information. The caller mentioned that she would enclose it in stationary and mail it right away. She didn’t describe the content of the post card and I didn’t ask. The object arrived within a few days. When I opened the beautiful stationary paper, I was horrified to see a black-and-white post card of four African American men hanging from one tree. I knew that lynching photographs were often sent as post cards, but I had never actually seen one.

The post card was sent with no additional information so I had to examine the photograph carefully to find clues that would reveal the timespan and possible location of the lynching to help me find out more about the African American men that were murdered. It took me weeks to process this post card. I was haunted by the bodies hanging from the trees and the faces of the African American onlookers that were standing nearby. I wanted to pass this to the registrar or slip it into a folder to be processed later, but an upcoming collections committee meeting forced me to complete the documentation. To heal from this emotional trauma, I incorporated the lynching post card in my lectures and workshops to teach other museum professionals how to accept racially sensitive materials.

Learning Points: How do museums prepare their collection staff to handle the uncomfortable emotions of processing racially sensitive collections? How can the community help? I challenge museum professionals to ask these questions. Because museums want collections to be more diverse, there must be an investment to make resources available for collections staff to learn how to work with sensitive materials. I encourage staff to openly discuss with other colleagues and communities that share these difficult histories. Be willing to listen and learn from community or local historians and invite them to help with the documentation of these objects.

Preventing and Advocating against Discrimination in Collections

As a seasoned museum professional in collections, I was comfortable working with various types of cultural objects. Collections care is paramount for all objects donated to or purchased for the museum—at least that is how I was trained, in accordance with AAM collections stewardship policies. As collections manager at a history institution, I worked collaboratively with the museum curator. Our relationship soon became frayed when the curator refused to store a significant Latino Art Collection on the same shelves with framed European paintings. At first I thought the curator had misunderstood my request to rehouse the Latino Collection in the permanent storage area. The reality became clear to me. This was not a mistake. The curator purposely devalued the need to administer equal care to an object simply by its cultural affiliation. This was unbelievable. Apparently, my predecessor had tried unsuccessfully for two years to incorporate the Latino artwork on the shelves of the main collections storage. Instead, the framed art pieces were either hung in various staff workspaces or stacked in the hallway. Was I experiencing firsthand cultural object discrimination?

I immediately alerted my supervisor to this act of subtle racism that was practiced through selective storage of objects based on culture and race. He supported me in my plan to care and store all collection objects equally. With several interns, I moved the entire Latino Art Collection to the designated art storage in the main collections building. It took several weeks before the curator noticed the newly stored artwork on the shelves. She retaliated by trying to get other staff to move the objects out of the main collections building. Her efforts became pointless when I reminded the curator that it is the duty of the museum to care for all collections as stated in our collections management policy.

Learning Points: The degree of object care should not be determined based on cultural affiliation or race. Cultural object discrimination does exist, but in subtle ways. The way to detect this is by asking questions: How and where are cultural objects housed in collections storage? Have they been properly documented and accessioned or are they stored in uncatalogued or unmarked boxes? Do the collections that represent a specific ethnicity or race receive the same financial funds and treatment?

I applaud the museums and institutions that are conscious of the care of their collections on an equal scale regardless of their cultural affiliation, but there are many that do not exercise that level of consciousness. I witnessed this inequality at a history institution several years ago when my interns and I were conducting research for an upcoming online exhibition. The African American collection of rare photographs and documents from World War I needed serious care and treatment. The collection was stored in worn archival folders and boxes. I was shocked that the institution allowed us to physically handle the photographs because of their fragility. When I asked the assistant if this collection would be digitized soon to prevent unnecessary handling, she told me that was their hope, but there were no definite future plans. Sadly, the donors gave these priceless photographs and papers of their military service with the museum’s promise that their items would receive the best quality of care.

Collections managers, conservators, and curators should feel empowered to speak up for the care of all collections. Don’t be afraid to correct colleagues. Challenge leadership to allocate appropriate funds to treat and document objects, particularly the ones that have a significant connection with local communities that are not represented in the museum.

Defending cultural representation in the areas of object interpretation, documentation, and care takes courage and a lot of patience. I credit my friends, mentors, and fellow colleagues for giving me direction and advice to speak out and educate colleagues and leadership on the importance of diversity and inclusion. I hope these examples will alert my colleagues of cultural exclusivity “red flags” within collections, generate meaningful conversations, and encourage individuals within the profession to take action where needed.

Suggested Readings

American Alliance of Museums, Facing Change: Insights from the American Alliance of Museums’ Diversity, Equity, Accessibility, and Inclusion Working Group, 2018, https: //

Schonfeld, Roger C., Mariët Westermann, and Liam Sweeney, “Art Museum Staff Demographic Survey,” The Andrew W. Mellon Foundation, January 28, 2019,

~ Marian Carpenter has over twenty years of experience in collections management and exhibitions. She holds a Bachelor of Arts in History and Afro-American Studies from Indiana University and a Masters of Arts in American History with a concentration in African American History from the University of Cincinnati. Currently, she is the Associate Director of Collections/Chief Registrar at the John and Mable Ringling Museum of Art.

Digital History

The United States Census Bureau used Film Optical Sensing Device for Input to Computers (FOSDIC) to transfer data from paper questionnaires to microfilm from the 1960 through 1990 Censuses. U.S. Census Bureau, 1960s, Wikimedia Commons.

Digital history is an approach to researching and interpreting the past that relies on computer and communication technologies to help gather, quantify, interpret, and share historical materials and narratives. It empowers individuals and organizations to be active participants in preserving and telling stories from the past, and it unlocks patterns embedded across diverse bodies of sources. Making technology an integral component of the historian’s craft opens new ways of analyzing patterns in data and offers means to visualize those patterns, thereby enriching historical research. Moreover, digital history offers multiple pathways for historians to collaborate, publish, and share their work with a wide variety of audiences. Perhaps most important, digital methods help us to access and share marginalized or silenced voices and to incorporate them into our work in ways not possible in print or the space of an exhibition gallery. This essay provides an overview of the multiple ways historians are using digital tools to research and share inclusive histories with broad audiences.

The Growth of Digital History

Over the last twenty-five years, digital history has grown into a subfield of its own. Using computers to assist in both historical analysis and the sharing of historical narratives is not new. Economic and social historians began adopting computer-based statistical methods in the 1960s to analyze historical data as means for documenting and quantifying different communities. In the 1980s and 1990s, as personal computers became more available and accessible, some historians created simple databases of sources, transcriptions, and numerical data derived from their own research. The birth of the Web and the first modern browser, Mosaic, in 1993, opened new means for sharing, networking, and collaborating in ways not previously possible. Using computer languages designed for the Web, historians found opportunities for crafting and publishing narratives filled with links to other resources, creating non-linear pathways that encouraged new ways of reading.

An important milestone occurred in the 1990s when cultural heritage institutions began creating digital copies of their holdings and sharing them online for free. The Library of Congress’s American Memory and the New York Public Library’s first iteration of the Digital Schomburg collection were path-breaking resources that facilitated access to sources for historians and students. Genealogists, collectors, and enthusiasts benefited from these collections, and the Web provided a means for them to share their passion and connect with others. Genealogists, in particular, benefited from digitized databases of passenger records from the Statue of Liberty-Ellis Island Foundation records documenting immigrants entering Ellis Island. In this period, the Church of Jesus Christ of Latter-Day Saints also began its long history of providing access to digitized U.S. Census records and other public records.[i] Collector Omar Khan launched a website filled with his collections, Harappa: The Indus Valley and the Raj in India and Pakistan, driven by his personal interest in the histories of South Asia. Soon after the site launched in 1995, Khan connected with scholars in and of the region and the Harappa grew beyond a hobbyist’s project into an impressive online resource containing collections and exhibitions on two distinct eras in South Asian history.[ii] Motivated by the potential to expose and document voices from underserved and under-heard communities, individuals and organizations gravitated to the Web to harness the power of computers to collect, analyze, and present digitized data.

Digital Collections

Today, digitized collections of primary sources from thousands of libraries, archives, and museums continue to facilitate access to existing collections. Many of these collections replicate existing archival structures and collections. As such, digital collections can reproduce the power structures, and absences, involved in the creation of the original physical archives. At the same time, digital scanning and photography, combined with web protocols, have allowed individuals and organizations to build, curate, and share more inclusive collections around themes and communities. Online collaborative research collections, such as the Digital Library of the Caribbean, combine resources from multiple organizations to serve an international and multi-lingual audience and promote the study of Caribbean history and culture. Since their founding in 2004, their governance model is designed with principles of equity and inclusion: decision-making is shared and the combined monetary and professional resources are distributed equitably across more than forty institutions.[iii] When designated physical spaces for certain types of archival material do not exist (or are limited), people are creating digital spaces to fill the gap.

An important example of digital collections work documenting under-heard voices is the Colored Conventions Project. Led by Gabrielle Foreman and a large collaborative team at the University of Delaware, it brings together newly-digitized sources related to Black political conventions from the 1830s to 1890s into a website that includes minutes from local, regional, state, and national meetings discoverable by year, place, and subject tags. To make the scanned documents fully text searchable, Foreman and her team collaborate with students and community groups, including African American churches, to transcribe documents and research the lives of individuals mentioned in meeting minutes, most of whom are not national figures. Through this community-sourced research, a new story of African American political activism is emerging.[iv]

Many digital collections projects begin outside of academic institutions. The South Asian American Digital Archive (SAADA), led by Michelle Caswell and Samip Mallick, began as a way for the organizers to see themselves and their community in history. After ten years of collecting digitally, it holds thousands of items making it the largest collection of South Asian American history.[v] When the Smithsonian’s National Museum of African American History and Culture (NMAAHC) first formed, they lacked a physical collection and turned to digital means to jumpstart their efforts. The museum launched an online Memory Book in 2007 that asked visitors to share their stories, family photos, or traditions. These early contributions influenced how curators shaped their interpretative priorities and helped them build their physical and digital collections. This practice also informed their digital strategy from the institution’s earliest stages.[vi] These digital collections provided building blocks for writing and teaching more inclusive histories.

Teaching and Learning

Some of the earliest digital history projects sought to bring students into direct contact with digitized primary sources and multi-media interactives to teach historical methods and analysis. History Matters offered one of the first free online U.S. history courses designed for high school and college classrooms, based on the textbook and CD-ROM, Who Built America?. By assembling different types of primary sources to represent many voices from the past and publishing guides to help students interpret different kinds of evidence, History Matters demonstrated the potential for building inclusive and synthetic teaching materials for the Web—such materials are now collectively known as Open Educational Resources (OERs).[vii] Since these early projects, educators have posted lesson plans, activities, and other materials online, which has created a need to aggregate these sources in central places for teachers, leading to sites such as EDSITEment and Teaching[viii]

Immersive websites and games have also played an important role in history education. In Who Killed William Robinson?, launched in the late 1990s, Canadian historians experimented with an immersive site that invited students to closely examine primary and secondary evidence pertaining to a specific historical event. Designed to help undergraduates understand historical methods and uncertainties in the record, the project asked students to spend time reading about the contexts surrounding the murder and associated events, then dig through a collection of primary sources and different interpretations of the eventsStudents using the website quickly learned how murky evidence presented at trial led to the conviction and execution of a Chemainus Indian and many questioned the verdict. Project co-creators, Ruth Sandwell and John Lutz, wove together the social, cultural, and political contexts at work in colonial British Columbia to help students solve the mystery behind the death of William Robinson and other African Americans who migrated to British Columbia in the 1860s.[ix] Designing investigative activities like Who Killed William Robinson? and other serious educational games requires an intense amount of technical and research resources to build and sustain as web browsers evolve and the use of mobile devices continues to increase.

Historians are also sharing and creating undergraduate and graduate-level syllabi online to encourage more inclusive reading lists and assignments that acknowledge and respond to current events. Responding to racially-motivated violence in the 2010s, educators began generating reading lists to promote teaching the history of racial violence, mass incarceration, and white supremacy. One example is #CharlestonSyllabus, initiated by Brandies University professor Chad Williams, following the horrific 2015 shootings at Charleston’s Emanuel African Methodist Episcopal Church. The resulting community-sourced resource, now maintained by Keisha Blain and the African American Intellectual History Society, is filled with books and articles on relevant historical topics, many of which were written by scholars of color. These efforts encourage instructors to teach and discuss difficult historical, cultural, and political topics with their students.[x] Through these examples, we see historians building both simple and complex projects to engage students in historical thinking and research.

Digital Exhibits and Publications

Unlike a print article that has an accepted structure and form designed to be read sequentially, digital narratives offer historians the ability to create non-linear paths to explore themes and paths of argumentation and invite conversations with community audiences. Some projects invite users to see complexity in history by following different pathways through layers of content including: links to digitized primary sources; visualizations of historical data in maps, graphs, or charts; and narrative threads that work together to address historical questions in ways not possible in print monographs or exhibition catalogues.

American Sabor: Latinos in U.S. Popular Music is an example of an online exhibition that accompanied a traveling show developed by EMP Museum and the University of Washington. American Sabor’s bilingual website invites Spanish and English speakers to learn about the musical contributions of Latinx musicians and how their culture shaped the American popular music scene after World War II. Site visitors learn about Latinx migration in and out of particular regions, hear musicians’ oral histories, learn about musical styles such as the Rumba and Mambo, and listen to sample songs. This exhibition brings together multiple kinds of sources—including sound—that are important for telling more inclusive histories by using digital means to craft historical arguments about the past.

Digital publishing platforms such as Scalar, Omeka, WordPress, and Manifold offer historians the means to bring together annotated media and sources with long-form writing and embed visualizations not possible in a book. In one example, Matthew F. Delmont has created an online companion to augment his print monograph, Why Busing Failed. The digital edition is a free and accessible version of his research that incorporates in-depth examination of multimedia sources and provides him the opportunity to reframe his academically-focused monograph as more approachable online essays that offer twelve new ways to rethink the way that the history of school desegregation and civil rights is taught in American schools.[xi]

Professional organizations are also turning to free digital publishing platforms as ways to reach and support their members by discussing new scholarship, but also to provide a voice for their organizations’ advocacy roles in the profession and public policy, as well as in struggles for social justice. The African American Intellectual History Society (AAIHS) publication Black Perspectives, an award-winning digital history site with dozens of contributing scholars, promotes and disseminates “scholarship on global black thought, history, and culture.” The National Council on Public History and the American Association for State and Local History decided to publish The Inclusive Historian’s Handbook online as a free resource not only for their members, but also to open the practice of history for diverse communities of practitioners and directly support inclusive and equity-focused historical work in public settings.[xii] Free online publishing software facilitates a type of dialogue that many inclusive historians already engage with in other ways; however, it expands the reach, depth, and breadth of these conversations.

Collaborative Digital Public History

Digital public history practitioners collaborate with groups outside of the academy and other formal cultural institutions to document their experiences and work together in telling their histories. For example, launched in 2008 by a team led by Ned Katz to facilitate collaboratively-written histories of the LGBTQ community. The project collects personal reflections, but it focuses on using its Wiki publishing platform as the means to collaboratively write and discuss episodes important to the diverse LBGTQ community. As the number of contributors grew, so did the project’s stature as a resource for LGBTQ history.[xiii] Public historians are also actively trying to change understandings of American history and the shared racist, colonial, and exclusionary legacies that are made visible through current events. Denise Meringolo created Preserve the Baltimore Uprising to document the events of protest by those living and experiencing it in Baltimore following the death of Freddie Gray in 2015. The project began as a crowdsourced, community collecting project, but it continues to transform as Meringolo works with Baltimore residents, including high school students, to reflect and interpret this series of events within the historical roots of racial injustice and political unrest in their city.[xiv]

In reaction to racially-motivated police violence in 2014, museum professionals Aleia Brown and Adrianne Russell, started the hashtag #museumsrespondtoferguson to begin a long conversation about how museums and cultural heritage organizations might improve and change racial and cultural understandings within their communities. By hosting regular conversations on Twitter and blogging, Brown and Russell encouraged museum professionals to examine their hiring practices, collections policies, and public programming offerings.[xv] By using social media platforms like Twitter with hashtags that can be followed in-real time and asynchronously, robust conversations occurred in ways that are not possible within the confines of conference presentations or other in-person meetings. There are risks, however, when public historians participate in community conversations of highly-contested historical episodes, such as the building of Confederate monuments in the early twentieth century. In the absence of skilled facilitation, it can sometimes be difficult to participate in thoughtful and rational discussions and it is easy for discussants to be dismissive, rude, and even threatening. People of color, LGBTQ individuals, and women are more often targets of racist, sexist, and exclusionary attacks on social media. Preserving these active conversations and saving the public witness of events recorded in real time is important but not easy. Most social media platforms are commercial entities, so saving these conversations requires understanding terms of service for each platform, user rights, and advanced technical knowledge to harvest conversation streams. Led by archivist Bergis Jules, the Documenting the Now team has developed tools and workflows to enable saving of social media hashtags and streams for future research.[xvi] No matter the project, digital public historians encourage and facilitate active participation of communities to increase understanding of the past and contextualization of the present through digital means.

Computational Analysis

Digital history that requires computer programming languages to explore historical data through visualization is often referred to as computational analysis. This approach can be most helpful for exploring collections of digital sources and other types of data that can be visualized to frame research questions or expose the relationships among people, places, and ideas. Using spatial data, some digital historians interpret landscapes by generating maps. Exploring the constructions and connections of place and space are important when studying the spread of commodities, ideas, and people, as well as the impact of public policies on physical places. Through careful research of local records, Prologue DC’s Mapping Segregation in Washington, DC visualizes segregation in twentieth-century Washington, D.C., neighborhoods by mapping the restrictive covenants, block-by-block, across the city. Weaving together legal challenges, historical photographs, and other sources on a map, this project offers a good example of how placed-based storytelling can make systemic racism visible in concrete ways.[xvii]

Textual analysis, more commonly used in literature and rhetoric fields, offers methods for examining language use by identifying language patterns and themes based on combinations of words and phrases across bodies of texts (corpora). Historian Michelle Moravec employs these techniques when examining documents related to the women’s suffrage movement in the United States. Through analyzing the rhetoric amassed across six volumes of the History of Woman Suffrage, Moravec can see how the white editors framed the voting rights movement’s rhetoric. By excluding radical voices and women of color who saw suffrage as one step toward achieving equal rights for all women, the compendium’s editors focused on issues pertinent to themselves—property rights of married white women.[xviii] These limitations are important to identify when researching a large body of sources. Since computational methods require digitized and machine-readable content, the absence of inclusive collections presents real challenges. Online collecting and recovery efforts mentioned earlier in the essay are an integral piece for creating an inclusive digital history.

Social network analysis helps digital historians to explore relationships between different entities and visualize them. The Linked Jazz project team, led by Cristina Pattuelli, spent years extracting and identifying names of jazz musicians, composers, and leaders through recorded transcriptions of oral histories, photographs, and documents using computational techniques. The team built a database of names and identified connections, such as band member, mentor, influencer, or collaborator. They then asked for assistance from historians, fans, and jazz musicians to identify and confirm the relationships and other biographical information from this community. Driven by metadata that links individuals across multiple collections, Linked Jazz generates visualizations that show the many connections of individuals lesser known in mainstream histories, such as Toshiko Akiyoshi, a prominent Japanese band leader and musician.[xix] Engaging in computational analysis requires a digital historian to create datasets, and data needs definition to be processed. Forcing uncertain information into a fixed value, such as a date or specific place, when source material may not offer that certainty creates tension for historians and may mean that a specific digital method cannot reasonably be employed as means for analysis. This also can make computational methods less accessible than other areas of digital history.

Challenges for the Field

Despite the field’s efforts to build an open and collaborative community, digital history methods can be exclusive and challenging to practice. Digital historians have worked to be inclusive of underrepresented and under-served communities in their project work, but they have not been as successful in expanding the corps of practitioners. Even still, efforts such as the multi-lingual Programming Historian, offer step-by-step lessons with sample data and content for learning different digital methods, free open source software, and workflows. Started in 2008 by William J. Turkel and Alan MacEachern, Programming Historian is now a free peer-reviewed publication supported by an active cohort of authors, editors, and reviewers committed to teaching, fostering, and growing an inclusive community of practitioners.[xx] Other efforts to increase capacity can be found through free professional development opportunities offered through the National Endowment for the Humanities, the Getty Foundation, and professional organizations, as well as fee-based courses at the Digital Humanities Summer Institute and many universities. National networks, such as RailsGirls, are working to give young women free training in computational thinking and programming and, in this way, seek to create a more inclusive workforce in the technology sector.[xxi] This essay shows that digital methods and projects offer dynamic ways for creating, publishing, and collaborating on inclusive history projects. While this essay does not address digital infrastructure, it is important to note that historians are contributing to these new methods and the scholarly communications ecosystem through the development of and contributions to free and open source software that undergirds much of the work cited here.[xxii] A major challenge for us, is to be active in conversations about preserving and sustaining the open digital infrastructure that makes this inclusive digital history work accessible for all in years to come.


[i] Library of Congress, American Memory; New York Public Library, Digital Schomburg; Statue of Liberty-Ellis Island Foundation,; Family Search has grown tremendously since its launch in May 1999, as an outgrowth of the LDS Church’s Genealogical Society of Utah,

[ii] Omar Khan, Harappa: The Indus Valley and the Raj in India and Pakistan, original website content lives here, and the updated newly-designed site is found at

[iii] Digital Library of the Caribbean,

[iv] P. Gabrielle Foreman, Jim Casey, Sarah Lynn Patterson, et al, The Colored Conventions Project

[v] Michelle Caswell, “Seeing Yourself in History: Community Archives and the Fight Against Symbolic Annihilation,” The Public Historian 36, no. 4 (November 2014): 26-37,

[vi] Smithsonian Institution, National Museum of African American History and Culture, Memory Book, 2007-2011:; Laura Coyle, “Right from the Start: The Digitization Program at the Smithsonian’s National Museum of African American History & Culture,” The Public Historian 40, no. 3 (August 2018): 292-318,

[vii] Roy Rosenzweig Center for History and New Media and American Social History Project, History Matters: The U.S. Survey Course on the Web

[viii] National Endowment for the Humanities, EDSITEment,; Kelly Schrum, et al, Roy Rosenzweig Center for History and New Media, National History Education Clearinghouse

[ix] Ruth Sandwell and John Lutz, Who Killed William Robinson? Race, Justice and Settling the Land

[x] Dan Cohen, “A Million Syllabi,”, blog, March 31, 2011,; Chad Williams, et al, #Charleston Syllabus:

[xi] Alliance for Networking Visual Culture, Scalar:; Roy Rosenzweig Center for History and New Media and Corporation for Digital Scholarship, Omeka:; WordPress Foundation, WordPress:; University of Minnesota Press, Manifold,; Matthew F. Delmont, Why Busing Failed, digital project,

[xii] African American Intellectual History Society, Black Perspectives, Black Perspectives won the American Historical Association’s Roy Rosenzweig Prize for Innovation in Digital History in 2017.

[xiii] Lauren Jae Gutterman, “OutHistory.Org: An Experiment in LGBTQ Community History-Making.” The Public Historian 32, no. 4 (November 2010): 96-109.

[xiv] Denise Meringolo, Maryland Historical Society, et al, Preserve the Baltimore Uprising,

[xv] Aleia Brown and Adrianne Russell, “We Who Believe in Freedom Cannot Rest,” The Incluseum (blog), December 17, 2015,

[xvi] Bergis Jules and Ed Summers, et al, Documenting the Now,

[xvii] Prologue DC, Mapping Segregation in Washington, DC

[xviii] Michelle Moravec, “‘Under this name she is fitly described’: A Digital History of Gender in the History of Woman Suffrage,” Women and Social Movements 19, no. 1 (March 2015),

[xix] Cristina Pattuelli, et al, Linked Jazz

[xx] The Programming Historian

[xxi] National Endowment for the Humanities, Office of Digital Humanities, Institutes for Advanced Topics in Digital Humanities program,; Digital Humanities Summer Institute at University of Victoria, Canada,; National RailsGirls,

[xxii] Software is developed and maintained by historians and humanists at institutions, such as the Roy Rosenzweig Center for New Media at George Mason University and the Corporation for Digital Scholarship (Zotero; Omeka; and Tropy,; Stanford University’s Humanities + Design Lab (Palladio,; and Alliance for Networking Visual Culture (Scalar, Individuals contributing software include Stefan Sinclair and Geoffrey Rockwell (Voyant Tools, and Lincoln Mullen (R packages:

Suggested Readings

Brennan, Sheila A. “Public, First.” In Debates in the Digital Humanities 2016, edited by Matthew K. Gold and Lauren Klein. Minneapolis: University of Minnesota Press, 2016.

Caswell, Michelle. “Seeing Yourself in History: Community Archives and the Fight Against Symbolic Annihilation.” The Public Historian 36, no. 4 (November 2014): 26-37.

Cohen, Daniel J., and Roy Rosenzweig. Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006.

Coyle, Laura. “Right from the Start: The Digitization Program at the Smithsonian’s National Museum of African American History & Culture.” The Public Historian 40, no. 3 (August 2018): 292-318.

Gallon, Kim. “Making a Case for the Black Digital Humanities.” In Debates in the Digital Humanities 2016, edited by Matthew K. Gold and Lauren Klein. Minneapolis: University of Minnesota Press, 2016.

Gibbs, Frederick W. “New Forms of History: Critiquing Data and Its Representations.” The American Historian, February 2016.

Gutterman, Lauren Jae. “ An Experiment in LGBTQ Community History-Making.” The Public Historian, 32, no. 4 (November 2010): 96-109.

Leon, Sharon. “Complicating a ‘Great Man’ Narrative of Digital History in the United States.” In Bodies of Information, Intersectional Feminism and Digital Humanities, edited by Elizabeth Losh and Jacqueline Wernimont, 344-366. Minneapolis: University of Minnesota Press, 2018.

Graham, Shawn, et al. Exploring Big Historical Data: The Historian’s Macroscope. London: Imperial College Press, 2016.

Posner, Miriam. “What’s Next: The Radical, Unrealized Potential of Digital Humanities.” In Debates in the Digital Humanities 2016, edited by Matthew K. Gold and Lauren Klein. Minneapolis: University of Minnesota Press, 2016.

Rosenzweig, Roy, et al. Clio Wired: The Future of the Past in the Digital Age. New York: Columbia University Press, 2011.

Tilton, Lauren, et al, editors. American Quarterly Special Issue: Toward a Critically Engaged Digital Practice: American Studies and the Digital Humanities 70, no. 3 (September 2018).

White, Richard. “What Is Spatial History?” The Spatial History Project, February 1, 2010.

Sheila A. Brennan is a digital public historian and strategic planner with over 20 years of experience working in public humanities. She has directed dozens of digital projects and published an open access digital monograph, Stamping American Memory: Collectors, Citizens, and the Post (University of Michigan Press, 2018).

Public Folklore

Dorothy Sara Lee interviewing emcee Clifford Wolfe, Sr. at the 1983 Omaha Powwow in Macy, Nebraska. American Folklife Center, Library of Congress, Omaha Powwow Project collection. Photo credit: Carl Fleischhauer.

Public folklorists collaborate with communities to enable them to sustain their traditions on their own terms. They engage in activities designed to both safeguard traditions locally and present them to new audiences. Like public historians, public folklorists facilitate self-representation by communities of their own history and culture, engage in collaborative documentation projects, and produce interpretive programming. For history museums and other historical organizations, embracing public folklore opens up remarkable opportunities to combine documentation of living traditions with presentations by traditional practitioners and collection of the material culture of groups underrepresented in the historical record.

All folklorists today take an expansive approach to the social base of folklore. It is practiced by groups that share a common identity such as ethnicity, occupation, region, and gender. They acquire folklore informally, typically through oral tradition and by example. Practitioners of folklore create innovations within the conventions of their traditions. Folklorists learn their academic discipline of folklore studies in masters and doctoral programs in a number of North American universities. During the late twentieth century, folklore studies shifted focus from concentration upon recorded texts to a view of folklore as contextually shaped and emergent. Public folklore embodies this more dynamic approach through programming that represents the customary contexts of performance and emphasizes folklore as living tradition.

Dialogism and Shared Authority

Public folklore is dialogical in character. Like public history that champions “shared authority,” public folklore embodies ideas that have been closely associated with the Russian philosopher Mikhail Bakhtin. He contended that meaning is constructed through a multiplicity of voices. Dialogism is an open, ongoing practice, in sharp contrast to the fixed meanings of monologism.[i] Public folklorists engage in “cultural conversations,” which Nick Spitzer defines as the negotiation of mutual representations between folklorists and the communities represented “in the media, on the festival stage or in the text.”[ii]

In public folklore as in oral history, narratives provide distinctive perspectives about historical experiences and events. They contest, corroborate, or provide alternative evidence about history. The Surviving Katrina and Rita in Houston project, for example, countered media representations of survivors of the 2005 hurricanes as victims and criminals. Hurricane survivors relocated to Houston were trained by folklorists to collect each other’s narratives in a field school. The project was presented to the public through an exhibition and website featuring compelling narratives. While folklorists Pat Jasper and Carl Lindahl framed the overall organizational and programmatic structure of the project and provided technical direction for the use of equipment, they took a hands-off approach to interpretation of the experience of the survivors, who were told that they were the experts. Lindahl emphasizes the importance of yielding interpretive authority to community members: “sovereignty over one’s story is a guiding precept.” Folklorists like Lindahl accept the narrative truth of legends that might not have a factual basis for historians but are believed to be true by the narrators. Lindahl contends that Katrina and Rita disaster narratives serve as an “essential vernacular tool for expressing how the tellers feel about the prevailing social order and for helping their communities seek explanations that square with their convictions.”[iii]

Like Surviving Katrina and Rita in Houston, the Place Matters project of City Lore provides alternatives to dominant representations of history. On its website, Place Matters documents, advocates for, and presents places in New York City of local vernacular significance, especially those at risk of destruction. Community members nominate places rich in personal and local collective memory for inclusion. They include a beloved luncheonette, Chinese general store, storefront mosque, and neon sign company. City Lore documents some of the sites and curates the Place Matters website. It instructs community members about documentation practices, advocacy, and protection through an online toolkit.

Public folklore projects vary in the extent of curation and interpretive direction by the folklorist. Place Matters includes both user-generated content and curation by City Lore, in contrast to Surviving Katrina and Rita in Houston, which put interpretation and program content in the hands of community members. However, both projects were conceived by folklorists, who provided overall framing for project activities.

Public folklorists carry out programs designed to train community members to document and present folklore. The Kentucky Arts Council’s Community Scholars Program, for example, operates a field school that teaches participants the use of documentary equipment, fieldwork ethics, project design, grant writing, and archival methods. Its training has resulted in programs that include Funeral Traditions of the South, a regional traveling exhibition, and the Mountain Mushroom Festival, featuring traditions associated with morel mushrooms.

Geraldine Johnson interviews Ruth Newman while she cooks in her aunt’s home in Galax, Virginia. American Folklife Center, Library of Congress, Blue Ridge Parkway Folklife Project Collection. Photo credit: Lynn Scott Eiler.

Field Research

As living tradition, folklore is both rooted in the past and re-created each time it is practiced and performed. It maintains collective memories, local knowledge, and traditional aesthetics but often encounters sustainability challenges in the contemporary world. Field research serves as a foundation for programming that includes exhibitions, websites, folklore and education programs, demonstrations of material culture, presentations of narrative, apprenticeships, and festivals incorporating multiple types of presentations.

Folklore field research creates enduring historical records of cultural practices in context. Field researchers observe and participate in the traditions they document in addition to conducting interviews. As they document, folklorists build rapport with community members, paving the way for sharing traditions beyond customary contexts of family, friends, and neighbors. Audio recordings, still photographs, and video footage produced in field research are selectively used in exhibitions, online publications, websites, audio productions, and videos. The American Folklife Center’s (AFC) Folklife and Fieldwork: An Introduction to Cultural Documentation is a guide for community based folklore fieldwork that can also be used for related areas of cultural documentation. The AFC also provides links for additional resources on fieldwork practices, ethics, and intellectual property.


Folklore archives make folklore documentation publicly available, both online and through their physical archival facility. They are valuable historical resources, containing substantial information about practitioners of traditions and the contexts of cultural practices accompanying audio and video recordings, photographs, and transcribed texts. Folklore archives include materials collected decades ago along with recently collected field research. They contain metadata about the context and circumstances of collection and information about the background of the traditional practitioner as well as images and recordings of performances. Release forms completed at the time of research indicate any restrictions for use of materials deposited in archives. The Folklore Collections Database of the American Folklore Society provides searchable information about folklore archives throughout the United States.

Exhibitions and Public Programs

The South Florida Folklife Center of HistoryMiami, a history museum, engages in documentation of material culture as well as oral traditions. It carries out ongoing documentation of traditions practiced locally that have included Afro-Cuban orisha religious practices, prosforo bread used in Greek Orthodox services, and cigar rolling. Its folklife gallery exhibits objects collected in its ongoing research. HistoryMiami’s Artist-in-Residence series features artists documented by its folklife center. The Flipside Kings, a B-Boy dance crew founded in 1994, have been among HistoryMiami’s artists in residence.

Viewing its entire event as a cultural conversation, the Smithsonian Folklife Festival consists of modes of presentation designed for dialogical engagement among traditional practitioners, audience members, and the “presenter,” a folklorist or knowledgeable community member who frames and facilitates interactions. Workshop participants present their tradition and speak about the place of it in their community, the characteristics of the cultural practices they are presenting, and the sustainability of their traditions, among other topics. Audience members join in the discussion and share their own experiences and cultural knowledge. Narrative stages involve the sharing of stories among participants and the exchange of points of view about issues like environmental threats and language revitalization. Crafts demonstrations and performances of music and dance are presented in close proximity to audience members, facilitating dialogue. They are participatory in character, with audience members trying their hand at crafts and responding to music with dance steps demonstrated by performers.

The Smithsonian Folklife Festival generates much critical discussion, both from outside scholars and by folklorists working on the festival. Reflections on the Folklife Festival: An Ethnography of Participant Experience critically considers the concerns of participants at the 1987 Festival and “Michigan on the Mall” contains responses by folklorists involved in the festival that year. Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival includes essays by festival curators that illustrate the dialogical negotiation occurring throughout the development of the festival. Olivia Cadaval, one of the editors of the volume, discusses how she deferred to participants as part of the “reordering of curatorial authority” and “reimagining [of] power relationships.” She describes participants appropriating interpretive frameworks and taking over spaces for impromptu performances.[iv] Other critical discussions of the festival published previously noted unsuccessful presentations due to presentational frames inhibiting interaction and ineffective mediation by Smithsonian presenters. Presenting live human beings in such a self-styled “living museum” is challenging. When successful, it provides dynamic and frank intercultural dialogue. But it can also negatively objectify participants in the eyes of audience members and fail to facilitate intercultural communication.

Through folklore and education programs, children document traditions of their own families and communities, including children’s folklore. Their exploration of local heritage elevates the status of aspects of history and culture overlooked in curricula. Folklore and education programs relate to many different subjects, even including math through relating quilts to geometry. Louisiana Voices is a comprehensive folklore curriculum that touches multiple subjects. Its Oral Traditions: Swapping Stories unit has particular resonance for public historians. It includes both legends and other narratives recorded generations ago as well as stories that children can discover in their own community. Local Learning: The National Network for Folk Arts in Education provides folklore and education resources of particular value to educators.

Apprenticeships strengthen chains of transmission for traditions no longer widely practiced. Many statewide folk arts programs provide support for the pairing of a master folk artist with another member of their own community with appropriate skills as an apprentice. Apprenticeships are carried out in a series of lessons through time-tested ways centered on side-by-side learning to make a craft or perform music or dance through example and oral tradition. The apprentice may be provided with opportunities to perform publicly with the master artist. On its website, the folk arts program of the Massachusetts Cultural Council includes highly detailed information about the apprenticeships it has supported and its master folk artists.

Support at the State, Federal, and International Levels

State folk arts programs are pillars of a national infrastructure of programs devoted to ongoing documentation, presentation, and services to individual artists. Over 40 of these programs are supported by the Folk and Traditional Arts Program of the National Endowment for the Arts (NEA). They are mainly situated in state arts councils. Others are in state humanities councils or universities, and a few state programs are operated by non-profit folklore organizations. The programs in Mississippi, New York, Virginia, California, and Missouri represent the institutional and programmatic variety of state programs. The state programs work closely with local non-profit organizations involved with folklore, providing support through funding and carrying out collaborative programming in multiple venues. In addition to the NEA’s program, national folklore programs and organizations include the American Folklife Center of the Library of Congress, the Smithsonian Center for Folklife and Cultural Heritage, and the National Council for the Traditional Arts (NCTA). The American Folklore Society (AFS), founded in 1888, serves public folklore as well as academic folklore, with an abundance of information about the field of folklore and other resources on its website.

Globally, an upsurge in folklore inventorying, recognition of significant traditions, and sustainability initiatives have resulted from UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. The convention has been signed by over 175 nations, but not by the United States. Activities set in motion by the convention and resources provided by UNESCO eschew the terms “folklore,” “folklife,” and “folk arts,” which have negative resonances for some countries associated with their experience of extremist, nationalist, and totalitarian regimes that utilized folklore to further their political agendas. The principal Intangible Cultural Heritage (ICH) activities undertaken in association with UNESCO include the inventorying of traditions, at times undertaken through substantive field research, and two global lists: the Representative List of the Intangible Cultural Heritage of Humanity and the List of Intangible Cultural Heritage in Urgent Need of Safeguarding. ICH safeguarding measures are now being developed and disseminated, utilizing approaches like those that American public folklore has employed for the past four decades.

Conclusion – Public Folklore, Public History and New Horizons for Heritage Collaborations

In many nations the heritage field now encompasses multiple disciplines working together within academic and government programs. In contrast, heritage disciplines in the United States are compartmentalized, limiting the advancement of shared interests and the development of more comprehensive approaches to heritage preservation and sustainability. Public folklorists and public historians can point the way to fruitful collaboration among heritage disciplines. They share common goals of enabling community cultural self-determination. Both have developed a variety of methods for collaborative documentation and programming. Public historians and public folklorists engage in critical reflection about their practice and relationships to the communities they serve. While there have been all too few joint projects or dialogue about their approaches, greater mutual engagement could be readily accomplished and bring rich rewards. Public folklorists are adept at producing presentations of material culture and performance traditions that provide compelling expressions of community heritage for public history programming. The performance of legends, narratives of historical experience, and traditional folk songs about historical events can add vivid dimensions in the voices of community members expressing their historical legacies. For their part, public folklore programs can benefit from deeper historical perspectives provided by public historians. And, both fields can benefit from the exchange of ideas about methods for presenting history and culture, sharing authority with communities, and equipping communities to represent their histories and cultures on their own terms.


[i] See Mikhail M. Bakhtin, The Dialogical Imagination (Austin: University of Texas Press, 1981); and, Mikhail M. Bakhtin, Problems of Dostoyevsky’s Poetics (Minneapolis: University of Minnesota Press, 1984).

[ii] Nick Spitzer, “Cultural Conversations: Metaphors and Methods in Public Folklore,” in Public Folklore, eds. Robert Baron and Nick Spitzer (Jackson: University Press of Mississippi Press, 2007), 77-103, quotation on 99. Originally published by Smithsonian Institution Press, 1992.

[iii] Carl Lindahl, “Legends of Hurricane Katrina: The Right to be Wrong, Survivor-to-Survivor Storytelling, and Healing,” Journal of American Folklore 125, No. 496 (Spring 2012): 139-176, quotations on 153, 143.

[iv] Olivia Cadaval, “Imagining a Collaborative Curatorial Relationship: A Reordering of Authority over Representation,” in Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival, eds. Olivia Cadaval, Sojin Kim, and Diana Baird N’Diaye (Jackson: University Press of Mississippi, 2016), 155-175, quotation on 174.

Suggested Readings

Baron, Robert. “Public Folklore Dialogism and Critical Heritage Studies.” International Journal of Heritage Studies 22 (2016): 588-606.

______.  “Sins of Objectification? – Agency, Mediation and Community Cultural Self-Determination in Public Folklore and Cultural Tourism Programming.” Journal of American Folklore 123 (2010): 63-91.

Baron, Robert, and Nick Spitzer, eds. Public Folklore. Jackson: University Press of Mississippi Press, 2007. Originally published by Smithsonian Institution Press, 1992.

Bauman, Richard, Patricia Sawin, and Inta Gale Carpenter. Reflections on the Folklife Festival: An Ethnography of Participant Experience. Special Publications of the Folklore Institute no. 2. Blooming­ton: Indiana University Folklore Institute, 1992.

Cadaval, Olivia, Sojin Kim and Diana Baird N’Diaye, eds. Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival. Jackson: University Press of Mississippi, 2016.

Cantwell, Robert S. Ethnomimesis: Folklife and the Representation of Culture. Chapel Hill: The University of North Carolina Press, 1993.  

Cooley, Timothy J., editor. Cultural Sustainabilities: Music, Media, Language, Advocacy. Champaign: University of Illinois Press, 2019.

Dewhurst, Kurt, Patricia Hall and Charlie Seemann, eds. Folklife and Museums: Twenty-First Century Perspectives. Lanham, MD: Rowman & Littlefield/AASLH, 2017   

Feintuch, Burt, editor. The Conservation of Culture: Folklorists and the Public Sector. Lexington: University Press of Kentucky, 1988.

Graves, James Bau. Cultural Democracy: The Arts, Community and the Public Purpose. Champaign: University of Illinois Press, 2005.

Hufford, Mary, ed. Conserving Culture: A New Discourse on Heritage. Champaign: University of Illinois Press, 1994.

Sommers, Laurie Kay, ed.  “Michigan on the Mall.” Special issue, Folklore in Use 2 (2): 1994.

Titon, Jeff Todd. “Sustainability, Resilience and Adaptive Management.” In The Oxford Handbook of Applied Ethnomusicology, Svanibor Petton and Jeff Todd Titon, eds., 157-198. New York: Oxford University Press, 2015.

Toelken, Barre. The Dynamics of Folklore. Logan: Utah State University Press, 1996.

~ Robert Baron directs the Folk Arts Program of the New York State Council on the Arts and teaches in the Master of Arts Program in Cultural Sustainability at Goucher College. He has been a Fulbright Senior Specialist in Finland, the Philippines and Slovenia, a Smithsonian Museum Practice Fellow, and Non-Resident Fellow of the W.E.B. Du Bois Institute for African-American Research at Harvard University. Baron is a Fellow of the American Folklore Society and received its Benjamin A. Botkin award for significant lifetime achievement in public folklore. His research interests include public folklore, cultural policy, heritage studies, creolization and museum studies. His publications include Public Folklore, edited with Nick Spitzer; Creolization as Cultural Creativity, edited with Ana Cara; and articles in Curator, International Journal of Heritage Studies, Journal of American Folklore, Western Folklore and the Journal of Folklore Research. Baron holds a Ph.D. in Folklore and Folklife from the University of Pennsylvania.