#19forthe19th: Women at Work

Women have always worked. But the nature of that work and where it took place has changed over time. In the United States, before the late 19th century, the majority of women’s work was domestic, but as economic and social changes took place, women began working outside of the home and in more varied roles.

I wrote about women’s work for a chapter of my master’s thesis. Below is a short excerpt from that chapter that explains the changes over time and gives details about women’s work including women-owned businesses. Since my thesis focused on the Wilmington area, it includes statistics and information from the Cape Fear region.

Many changes in women’s work took place in the late nineteenth and early twentieth centuries. One such change was in the demographic makeup of women entering the workforce. In 1890 more than 90 percent of women over the age of 35 were married. Before 1890, the “vast majority” of married women did not engage in paid labor, instead “contributing to the family economy in other ways.”[1] After 1890 married women began to more frequently take jobs outside of the home. Women were having fewer children, resulting in fewer years spent in raising children. Technological advancements reduced and eased housework and made many goods previously produced in the home readily available for purchase. The reduction in family size and the new technology freed up time for many married women. Alice Kessler-Harris argued that these women, no longer spending much of their lifetimes birthing and raising children, “would need to find meaningful survival activity” and some, especially those who outlived their partners, “would need to support themselves by finding paid work outside the household.”[2]

Kessler-Harris’s arguments points to two main reasons for women engaging in work outside of the home, for economic survival and for mental or emotional fulfillment. Since colonial times, single women, widows, and poor women were more likely to work for wages, needing to support themselves in absence of a husband or father or contribute to the earnings of a husband.[3] However, with the changes in the home pointed out by Kessler-Harris, as well as changes in the 1920s resulting from women’s wartime work, the flapper movement of the 1920s, and women’s newly earned suffrage, the early twentieth century saw more women, married or otherwise, pursuing work for other reasons, including boredom, ambition, rebellion, and independence, as well as need. These motives, of course, differed by race and class.[4]

By the mid-twentieth century, women held a larger variety of jobs, but still remained less represented in the workforce than men.[5] These changes over the first decades of the twentieth century are also reflected in the census records. In 1940 there were still six times as many employed males as females in Brunswick County, but only about two times as many in New Hanover County. This is likely due to the city of Wilmington’s increased population and urban employment opportunities. In terms of women as business owners and employers, in 1940 there were nearly ten times as many male as female employers and own-account workers in Brunswick County and 11.5 times as many male employers as female in the state of North Carolina. However, there were only 2.7 times as many in New Hanover County, making New Hanover County unique in the state for its higher proportion of women employers at that time.

Women’s employment generally increased over the course of the twentieth century; however, their occupations were concentrated in certain fields, such as domestic service and professional occupations. Women’s dominance in domestic service and professional occupations in the Cape Fear Region mirrors larger trends in women’s work in the twentieth century. Domestic service was an especially predominant occupation for African American women. Tera Hunter found in her study of black women’s work from the Civil War through the early twentieth century that “more than 90 percent of black female wage-earners were still confined to domestic work at the turn of the century.”[7] In the Cape Fear region, domestic workers were also majority African American, with domestic work being one of the few options for black women in the early twentieth century. As late as 1995 African American women still made up 63% of housekeepers, child care workers, and cleaners.[8] In terms of professional occupations, Kessler-Harris found that “by 1920 a cadre of trained and eager women had carved out a series of professional areas, many of which were loosely construed as nurturing,” such as nursing and teaching.[9] Cape Fear women’s large numbers in professional fields and domestic service fields represent larger trends in women’s growing presence in the paid labor force.

Beyond census records, another rich resource for contextualizing women’s work and roles in business is the city directories for Wilmington. These sources list local businesses as well as individuals and organizations. The city directories for the years 1900, 1905, 1909-10, 1915-16, 1919-20, 1930, 1934, 1940, 1944-45, and 1950, published by Hill Directory Company, revealed several trends in women’s work and were exceptionally helpful in gathering information about women-owned businesses.[1] By focusing on the business listings rather than the personal listings, some trends in women’s businesses can be determined.

The most numerous occupations or businesses held by women from 1900 to 1950 were boarding houses, clothing retailers, bakers and confectioners, dressmakers, florists, grocers, music teachers, and nurses. Not only did these professions include large numbers of women, but they also largely excluded men, demonstrating the gender segregation of the workforce. Boarding houses were overwhelmingly one of the biggest businesses operated by women in Wilmington. The city directories revealed that in 1900 at least 21 women were listed as the proprietors of boarding houses. Of those 21, 19 were listed as “Mrs.” and only two were listed as “Miss,” indicating that boarding houses were predominantly operated by married or widowed women.[2] In 1905 even more women were listed as boarding house owners with the number reaching 45.[3] More than 40 women operated boarding houses in 1910.[4] The number continued to remain relatively high at 11 in 1930 and 19 in 1940.[5] However, in 1950 there were only two women listed as boarding house proprietors. This shift did not indicate an exodus from the profession though. Instead, 32 women were listed as the proprietors of “furnished rooms,” many of them the same women once listed as boarding house owners.[6] Furnished rooms provided less amenities to lodgers, offering a room with either a hot plate or access to a shared kitchen where boarding houses had provided communal meals to their guests. Furnished rooms were thus less labor-intensive for landladies. The shift may have been caused by changes in women’s access to other occupations as well as changes in ideas of family privacy.[7]

Other notable professions included dressmaking and millinery shops. For example, in 1950 there were twenty-eight dressmakers in Wilmington. Women also appeared increasingly in later years as stenographers, notaries, real estate and insurance agents, and other office-type jobs. There were a few notable instances of women working outside of “feminine” occupations, but alongside husbands. There was one lawyer, one physician (osteopath), and one chiropractor who fell into this category. Other trends in women’s work in the Cape Fear Region included teaching, nursing, and clerical work.[8] By 1920, 80 percent of North Carolina’s teachers were women, the James Walker School of Nursing graduated more than 1,000 nurses between 1902 and 1970, and by 1940 15 percent of employed women worked in retail, clerical work, or service professional jobs. Textile mills were also leading employers of women in the region, including Delgado Cotton Mill.[9]

As can be seen, many of the occupations or businesses that women engaged in used “traditional” domestic skills or catered to women clientele. Boarding house proprietors served as hostesses, managing a home and providing meals. Dressmakers made women’s clothing, reproducing the traditional women’s task of cloth production in the home, and producing goods for female consumers. These were considered acceptable, feminine professions and they attracted a largely female workforce. As Kessler-Harris found, “most women, even professionals, still found themselves in job categories that were heavily female.”[10]

The ways in which businesses and individuals were denoted in the city directories also points to connections between race and gender when examining women’s work and businesses in the twentieth century. The city directories differentiated individuals and proprietors of businesses by race and further differentiated women by marital status. African-American individuals or businesses are denoted with an asterisk or the letter ‘c’ in parenthesis alongside their names. This action denotes the racial segregation at the time, and helps to provide some information about the differences in African-American and white women’s work.

African American women can predominantly be seen as the proprietors of eating houses and lunch rooms, as opposed to the separately named category of restaurants, a symptom of segregated establishments. African American women appeared much less often in other businesses such as boarding houses and as music teachers or nurses. African American women appeared as midwives where white women did not and are also among dressmakers and hairdressers. Personal listings in the city directories also revealed African American women to work often as washerwomen and seamstresses.[1] African American women appeared frequently in separate businesses from white women. Black women were more likely to be listed as hairdressers, eating house proprietors, and midwives. The businesses that African American women engaged in in Wilmington were also popular in other cities across the South. Hunter found that women in Atlanta also operated restaurants, clothing stores, hairdressing shops, and worked as midwives. Midwifery was also one of the few professional occupations African American women were able to break into, following teaching and nursing.[2] The differences in work of black and white women points to different gender expectations across race as well as different limitations in work opportunities.

 

[1] City directories, 1900-1950.

[2] Hunter, 112.

[1] Wilmington City Directories, Hill Directory Company, 1900-1950, North Carolina Room, New Hanover County Public Library, Wilmington, North Carolina.

[2] City of Wilmington Directory, Hill Directory Company, 1900, New Hanover County Public Library North Carolina Room, Wilmington, NC.

[3] City of Wilmington Directory, 1905.

[4] City of Wilmington Directory, 1909-1910.

[5] City of Wilmington Directory, 1930, 1940.

[6] City of Wilmington Directory, 1950.

[7] Joanne J. Meyerowitz, Women Adrift: Independent Wage Earners in Chicago, 1880-1930, (Chicago: University of Chicago Press), 1991, 73-75. Meyerowitz explores the changes in lodging of urban workers in Chicago around the turn of the twentieth century, offering some explanation of the differences between boarding houses and furnished rooms that can help explain the shift in Wilmington in the twentieth century.

[8] Women’s Work A Century’s Worth: A Cape Fear Scrapbook.

[9] Ibid.

[10] Kessler-Harris, 116.

[1] Kessler-Harris, 109.

[2] Ibid, 110.

[3] See Cynthia Kierner, Beyond the Household: Women’s Place in the Early South, 1700-1835, (Ithaca: Cornell University Press), 1998.

[4] Kessler-Harris, 224-229.

[5] Ibid, 114-115 and Historical Census Browser, 1940, University of Virginia, Geospatial and Statistical Data Center, 2004, Retrieved May 23, 2014, http://mapserver.lib.virginia.edu/.

[6] Historical Census Browser, University of Virginia, Geospatial and Statistical Data Center, 2004, Retrieved May 23, 2014, http://mapserver.lib.virginia.edu/.

[7] Tera W. Hunter, To ‘Joy My Freedom: Southern Black Women’s Lives and Labors After the Civil War, (Cambridge, MA: Harvard University Press), 1997, 111.

[8] Women’s Work A Century’s Worth: A Cape Fear Scrapbook, (Wilmington, NC: Women’s History Project Committee), 2001, Accessed May 14, 2015, Internet Archive, https://archive.org/details/womensworkcentur00cape.

[9] Kessler-Harris, 116-117.

#19forthe19th: Women Abolitionists

Fittingly, the US National Archives Instagram Challenge in honor of the centennial of the 19th Amendment has assigned the theme of Women Abolitionists to fall on June 19th, Juneteenth, the day that remaining enslaved people were emancipated in the state of Texas in 1865 after the end of the Civil War. The celebration of freedom on Juneteenth has spread across the United States.

The long road to freedom and the abolition of slavery was paved by many people working towards that goal, including men and women, black and white, Northerners & Southerners.

Today I want to focus on a few women abolitionists and their roles in the movement.

Many African American abolitionists were former slaves, who had either gained freedom through “official” means (were emancipated by those who enslaved them) or had escaped slavery. Free blacks in the north were often part of the abolitionist movement as well.

Harriet Jacobs was born into slavery in Edenton, North Carolina in 1813. She is most well-known as the author of a series of newspaper articles later turned book entitled Incidents in the Life of a Slave Girl which was a memoir of her life in slavery. The book was published in 1861 and is one of the earliest accounts of the struggles women especially faced when enslaved including sexual harassment and abuse and roles as enslaved mothers without legal rights to their own children. Harriet escaped into hiding in 1835 and then in 1842 was able to flee to the North. She became involved in the American Anti-Slavery Society, giving talks to support the cause and raise money. Her later memoir was also used to raise awareness, encourage the Civil War to be rightfully seen as a war against slavery by Union backers, and to especially appeal to white women by focusing on how slavery impacted black women’s ability to remain chaste and to be good mothers. During and after the war, Jacobs worked with fleeing refugees, and former slaves helping to provide food, shelter, etc. in the Washington, D.C. area where she lived the rest of her life.

Whites who were involved in the abolitionist movement were often members of liberal religious groups, such as the Quakers, which saw all souls as equal. White women, especially those of middle and upper classes had more ability to be involved in the movement than black women owing to being allowed more education, more freedom of movement, and access to resources and financing that allowed them to concentrate their time on the effort. Many northern abolitionists are well known such as Elizabeth Cady Stanton, Susan B Anthony, and Harriet Beecher Stowe and many went on to also be prominent in the women’s suffrage movement.

mendenhall-plantation
The false-bottom wagon is now kept at Mendenhall Homeplace.

Southern white women abolitionists are less often spoken about. One such woman was Abigail Stanley. She and her husband, who were part of a Quaker community in Guilford County, made their home part of the Underground Railroad and owned a wagon with a false bottom that they would use to help enslaved people escape. When many Quakers left the state as the debate over slavery grew increasingly heated, Abigail and her husband Joshua remained in North Carolina. Abigail petitioned the North Carolina legislature in 1838 to abolish slavery and worked to that end through her participation in the Underground Railroad and her writings.

Check out the hashtag #19forthe19th and #rightfullyhers to see more posts about women abolitionists and to follow along with the US National Archives challenge.

The full text of Incidents in the Life of a Slave Girl by Harriet Jacobs is available through the University of North Carolina’s Documenting the American South here: https://docsouth.unc.edu/fpn/jacobs/jacobs.html 

#19ForThe19th: Why Are Our Heroines Hidden?

Over the next 19 weeks, the US National Archives is celebrating the 100th anniversary of the 19th amendment, giving women the right to vote. On June 4, 1919, Congress voted to pass the amendment which would then go to the states for ratification before becoming law of the land in 1920. Each Wednesday is a different theme or topic. Today’s is Hidden Heroines.

I did a lot of brainstorming and soul searching trying to decide which woman from the past, who is often overlooked, I should devote my attention to. Because of the anniversary of women’s suffrage I thought of Lucy Burns, the suffragist who endured prison, forced feedings, and more in the fight for women’s right to vote. I thought of Lucretia Mott, a major driving force in both women’s rights activism and abolitionism. Of Iba B. Wells, a major figure in civil rights, co-founder of the NAACP, and women’s rights activist, often left out of the circles of white women’s rights activists. I thought of Mamie Till, the mother of Emmett Till, the young black boy who was murdered for talking to a white woman. This grieving mother boldly and bravely insisted her son’s coffin be left open for the world to see what had been done to him and allowed media to use graphic images of her son’s beaten body in order to advance civil rights, using her grief and her son’s tragically short life to affect change for others.

I thought of these and many other women, but I couldn’t decide on one woman to highlight or profile. One “hidden heroine.” There are so many women whose stories aren’t well known. Or aren’t as well known as other women’s stories. But they are all worth telling.

I decided instead to write about why women’s stories are hidden, less well-known than their male counterparts, and why some women’s stories are less told than others.

Why Are Our Heroines Hidden?

Issue 1: Sexism – Women were (& are) not offered the same opportunities as men. Speaking of history generally, women had less access to formal education and therefore more difficulties in achieving goals in academic fields and research. Legal restrictions on women’s right to vote, to own property, etc. kept them from enacting change. Societal expectations have kept many women in the home as wives and mothers, relegating them to domestic work. The field of history has traditionally been dominated by male academics. Prior to the wave of social history that swept through the academy in the 1970s and 80s, many historians focused on major public figures (historically predominantly male due to the restrictions on women mentioned above), military and state history. Social history began looking at history “from below” and taking into account minority voices, ordinary people, and the lived experience of people from many walks of life. But for years and still today, textbooks largely stick to the national narrative which prioritizes state and military history–domains traditionally and at times legally reserved for men.

Issue 2: Racism – Women of color have been doubly restricted from aspects of public life, facing racism and sexism simultaneously. Their stories are even harder to find and have more often not been preserved.

Issue 3: Sources – Despite the above limitations women still led lives of importance, of interest, and of value. Of course some women made notable, public achievements in the face of discrimination, but even more women were hidden heroines, living in their own space, making an impact on the lives around them, much as many of us live today. Their stories are worth studying as it illuminates what daily life was like for the majority of people in any given historical era, not just those who held power or made public strides. It is the actions of the populace that move culture and society, not just those of great men or great women. These women’s lives are harder to uncover though since fewer written historical sources were made by women and even fewer have been saved. Women’s identities are sometimes obscured by the tradition of naming them only as Mrs. Husband’s Name in public sources. Women who lived in eras where they participated minimally in public life will have less written sources left behind than men in the same era. African American women during slavery will be even more difficult to find in the records than white women.

Issue 4: Interpretation/Public History – Strides are being made in this regard all the time, but the study of women’s history needs to go beyond the academy. Historians are increasingly studying women’s and minorities’ lives, but these findings need to be disseminated to the public via history classes and museums. The public is interested in the past and wants to know how it relates to them. This has been shown in studies, in the popularity of popular historical dramas, and other media. Half the population are women and so half of what’s included in museums should be about women. If I visit one more house museum that talks more about the crown molding than the life of the woman who lived there…but I digress. More public interpretation of women’s history, both notable women and ordinary lives, can help bring these stories forward and integrate them better into our national narrative.

This Instagram Challenge is one of many initiatives encouraging the study and interpretation of women’s history and many museums and historic sites will be taking part, highlighting their own women’s history and making connections to the 100th anniversary of women’s right to vote. Be sure to follow along and let them know you are interested in these women’s stories.

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Over the next 19 weeks I plan to take part in the Instagram challenge each week and will do my best to highlight a woman or women who fit the theme that is lesser known, particularly women of color. Let me know if you know of a woman you’d like me to research and highlight.

Why else do you think women’s stories remain hidden? Who is your favorite “Hidden Heroine?”

Follow along with the Instagram challenge from @usnatarchives #19forthe19th and check out my posts @bethnevarezhistory. 

#WomeninCulture: Women’s History & Public History

In the field of public history, the interpretation of women’s history has become a hot topic with increasing attention and emphasis being placed on including women’s perspectives in museum exhibits and other public history initiatives. This post is a literature review and essay on how women’s history has historically been presented via museums and historic sites. Women’s history should be more fully explored in all of its diversity and possibility at museums and historic sites of all types, especially in view of women’s historic and continued impact on the field of public history, with museums especially often considered a pink collar profession.

Social History’s InfluenceMyraSadker

Both public and women’s history as disciplines developed around the same time as social history, which began calling for the inclusion of marginalized histories like those of women, as well as racial minorities. Influenced by the social history movement of the 1970s and 80s, as well as the urgings of female staff at museums and sites, public interpretation at historic sites and museums has increasingly incorporated women’s history.[1] Even more recently, the fields of preservation and museums have pushed for progressively critical and analytical interpretations that move beyond simply adding the biographies of ‘great’ women to go alongside those of ‘great men,’ emphasizing the potential of making the history of all women more visible through the use of tangible resources.

Despite continued appeals over three decades, and a general increase in representation, there is still a need for more integration and better interpretation of women’s history at sites and museums. However, museums and preservation professionals have each identified different areas of women’s lives that are most in need of better interpretation. Museum professionals write that too much emphasis has been put on women’s public roles, while preservationists and those involved with historic sites push for more interpretation of women’s lives outside of the home, feeling that the domestic sphere is over-interpreted through the prevalence of house museums.

This interesting dichotomy may be the result of differences in the development of the two fields, the availability of the material culture used at each type of institution or issues of funding and sponsorship.

Women’s History in Museums

Edith Mayo’s 1983 article, “Women’s History and Public History: The Museum Connection,” was written only 5 years after public history, as a newly established self-identified field, published its own journal and is one of the earliest calls for increased representation of women’s history via public history.[2] Mayo provides an overview of the field of public history and its divergence from academic history in order to explain why women’s history had not been heavily incorporated into public history at that time. Arguing that public history and academic history separated due to increased specialization in training for academics and the propensity for academics to then see those who worked in preservation or museums as amateurs or antiquarians, Mayo then points out that women, who originally spearheaded preservation movements, were usually not trained historians. When the field of preservation began to professionalize, this lack of training began to phase out women from public history.

mountvernonladies
Mount Vernon Ladies’ Association

Mayo traces women’s involvement in public history back to the preservation movement of the nineteenth century in which women in their role as “culture bearer and preserver” led movements to save the houses of great men, including, most famously, Mount Vernon. By giving an introduction to women’s historic involvement in the field of public history, Mayo points out the irony that women’s history is “still largely neglected by public historians.”[3] Women’s history’s growing popularity in the academy as well as women’s traditional role as preservers of culture and history point to the need for more interpretation of women’s history in museums and historic sites.

Ultimately, museums should be a vehicle that brings women’s history from the academy to the public and should continue to respond to the increase in women’s history scholarship by incorporating interpretation of women into their exhibits and programs.

However, mere incorporation and inclusion is not enough as it needs to be balanced in order to present an accurate picture of women’s lived experiences. In the past, women’s history in museums has been focused on presenting “notable” women to go alongside the stories of noteworthy men.

Barbara Melosh’s “Speaking of Women: Museum’s Representations of Women’s History” finds that museums have had more success at interpreting women’s public roles, such as political achievements and labor roles outside the home, rather than their domestic lives.[6] This phenomenon is partially due to the driving principle of “finding” women on the same terms as men. Melosh shows that the exhibits of women’s public roles have been more common and more successful in terms of engaging with the available scholarship.

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Those exhibits that do present domestic life of women leave out any reference to subjects related to women’s bodies, sexuality, or domestic conflict. For example, Melosh found only one exhibit at the time to actually address domestic conflict in examining the household as a place of labor. The exhibit “Impact: Technology in the Kitchen” described the changes over time in kitchen tools and appliances, but rather than indicating a narrative of progress the exhibit explained how improvements in technology have not changed the amount of time that women spend on housework.[7] This lone example is in contrast to the proliferation of scholarship on women’s domestic conflicts, sexuality, and relationships.

While social history has greatly added to the interpretation of women’s history in museums, museums have not fully incorporated scholarship to the detriment of representations of women’s domestic lives. This issue stems from a continued discomfort with discussing matters of women’s sexuality and family conflict and violence. Part of the lack of critical analysis of women’s domestic lives is a collections issue because matters like divorce or domestic violence do not produce very many tangible objects, especially any which are saved over time. However, Melosh argues the major barrier to a completely scholarship-infused interpretation is the museum’s “code of civility” that tries to evade subject matter that would be upsetting to its constituencies.[9] This issue is largely tied to the need for funding and sponsorship, either from the public or corporations. Melosh encourages museums to resist letting outside sponsors dictate how the exhibits are interpreted and instead pushes upon museums their “social responsibility to close the gap between scholarly and popular conceptions of the past, to convey a more complex sense of history.”[10]

Laura Brandon’s 2010 essay, entitled “Looking for the ‘Total’ Woman in Wartime: A Museological Work in Progress,” discusses the lack of artifacts related to certain experiences of women and the propensity of museums to interpret women in relationship to men or in roles that offer a parallel to men’s rather than looking at women’s experiences in their own right. Brandon reasons that since women make up the majority of the population, their experience of war is important for a complete understanding of wartime; however, war has traditionally been interpreted as a masculine event.

The museum her case study is focused on, which has been traditionally focused on military history rather than social or cultural circumstances of war, had recently made attempts to incorporate women’s experiences. However, the inclusion of women was still in the context of the fighting or in relationship to men. Brandon calls for more interpretation of the actual wartime experiences of the majority of women on the home front such as knitting circles, rationing and making do, working, and receiving letters from male family members. Instead of offering interpretation of the home front, representations of women have been limited to certain types such as nurses and female service personnel, two roles very much in the context of fighting. Brandon outlines the various challenges faced by the Canadian War Museum in new attempts to build a picture of the total woman including adjusting collections policies, finding creative solutions to fill gaps made by past collection policies, and  improving cataloging methods in order to better locate the few items that do relate to women’s experiences.

The available artifacts were collected by men and are limited to those objects most closely associated with the fighting, such as guns and uniforms. The lack of both art and artifacts related to women’s experiences is caused largely by past collection policies which sought the tangible remains fit for interpreting traditional military history. Therefore, current curators and museum historians are faced with the challenge of finding representations of women’s experiences. Brandon makes several suggestions to aid this process. She calls upon making use of archival records and changing the system of cataloging to help find objects based on their context and significance rather than simply their function. This method of cataloging would allow staff to pull up objects that relate to women’s experiences because of the personal story attached rather than its formal use. However, even with these methods, the main issue is that wartime material culture that reflects the changes women had to make in their lives on the home front is missing from the Canadian War Museum’s collections. Brandon finds that this issue is largely related to the underestimating of women’s experiences both in history and today. Women do not identify their own material culture relating to war as important or relevant to war museum collections. Furthermore, Brandon finds that women’s history in the academy has had less effect on masculine-oriented, war museums.

The root issue is a lack of interpreting the whole woman, or in other words, the neglect to convey a comprehensive view of women’s pasts, both in and out of the home.

Museums have followed scholars’ lead in increasing the interpretation of women’s lives and experiences; however, that scholarship has not been applied uniformly. As time progressed, the mere inclusion was not enough and interpretation continues to present issues, concerns, and questions about the best approaches and methods for interpreting all aspects of women’s history.

Women’s History in Historic Preservation & Historic Sites

Like museums, historic sites have experienced great changes in terms of the interpretation of women’s lives, experiences, and perceptions because of the influence of social history and women’s history scholarship. However, unlike museums, historic sites have emphasized moving away from interpreting historic houses solely as domestic spaces or as the sole spaces of women, leading to a push for the interpretation of women’s spaces outside of the home.

Much of the reason for a lack of sites related to women’s public roles are the lack of preservation of the evidence. However, there are still numerous ways to find all aspects of women’s lives in the built environment. Beginning with the early calls for increased identification of sites of women’s history, the field then adapted to an increased need for improved interpretation in sites already identified as women’s sites and for the expansion of interpretation into less-obvious sites of women’s experiences.

Like in museums, women’s history in historic sites and preservation began with the call for mere inclusion. Page Putnam Miller presented the following findings in her introduction to the 1992 edited collection, Reclaiming the Past: Landmarks of Women’s History. As recently as 1990, only four parks out of the National Park Service’s 356 units focused on women and less than 2 percent of the 1,942 National Historic Landmarks were designated because of their relationship to women’s history.[12] These statistics quantitatively demonstrate Miller’s motivations for the volume. The goal of the work as a whole was to encourage the fields of women’s history and historic preservation to collaborate in identifying and interpreting historic sites for their place in women’s history. Miller and her colleagues focused on properties that might qualify for National Historic Landmark designation, which, as Miller explained, offers sites more protections than nonprofits and individuals are often able to. Thus, this volume argues, designating women’s history sites as National Historic Landmarks would be the best way to ensure their preservation and proper interpretation for the public.

Reclaiming the Past: Landmarks of Women’s History was very successful in demonstrating the lack of interpretive sites of women’s history in the federal system of landmarks. The volume also successfully showed how historic structures can be a valuable resource for interpreting women’s history. Each essay reflects Miller’s assertion that “[b]uildings may be examined from many viewpoints and reflect social function, technological development, aesthetic taste, and economic factors.”[13] Sites also offer a powerful sense of place, which Miller regards as “equally as important as the research potential of these tangible resources.”[14] Place can provide insight otherwise not easily understood.

Other authors have written proposals and guides to applying some of the same approaches to identifying and interpreting women’s history to local initiatives rather than national landmarks designation. A case study in new ways to interpret women’s history through preservation and the built environment, Gail Lee Dubrow’s 1992 article, “Claiming Public Space for Women’s History in Boston: A Proposal for Preservation, Public Art, and Public Historical Interpretation,” does just what its title implies, proposing that the three approaches be applied in various combinations to interpret women’s history.

Dubrow focuses on issues of public, outdoor space, including structures as well as open areas, in order to emphasize making women’s history visible to the public. She uses the city of Boston, where she undertook a survey of the available resources for interpreting women’s pasts, to show how recent scholarship could be applied to advance an accurate and complete presentation of women’s roles and contributions. This article begins with the need for identification of places of women’s experiences, seeking to begin interpreting women’s history by locating it on the physical landscape. Dubrow argues specifically for using preservation, public art, and public historical interpretation in tandem.

In order to better interpret women’s history, Dubrow calls for less emphasis on notable women and more on “women’s collective accomplishments and activities and to fully encompass the diversity of female historical experience.”[16] However, she still focuses largely on celebrating contributions of women and movements for reform rather than representing ordinary women or a more critical, complicated interpretation of the past. Dubrow does push beyond mere identification of sites though. She argues that the importance of these sites must be made publicly visible. Dubrow cites the quintessential example of a project that combines preservation with art and historical interpretation in order to interpret women’s past. Dolores Hayden’s “Power of Place” project identified sites relevant to women’s history; however, many were no longer standing or were substantially changed. Therefore, public art projects were commissioned on the sites to represent the women’s stories. This successful project serves as an exalted example of what could be achieved through the combined efforts of public history interpretation, preservation, and public art with art’s ability to attract public interest and engagement, “especially where there are few tangible reminders or in situ physical clues about the historical significance of the place.”[17]

This lack of remaining built structures is due to previous lack of identification of women’s history sites, an issue largely tied to the field of preservation’s emphasis on architectural integrity. Many women’s sites are not located in buildings that are otherwise significant for their architectural style.

The field of historic preservation has pushed not only for more interpretation of women’s history but also more comprehensive and critical interpretations that push beyond women’s domestic role which is interpreted over and over again in historic house museums. There has been and remains a need to present women’s history outside of domestic settings and to reinterpret domestic settings for the lives beyond the notable women or wives of famous men that lived there.

Her Past Around Us: Interpreting Sites for Women’s History, a collection of essays edited by Polly Wells Kaufman and Katharine T. Corbett, aimed to be a guide for local teachers and historical societies that were trying to include women’s stories in their local histories or sites.[19] The volume includes eleven case studies that examine a wide variety of sites, some not generally associated with women’s history, some places of forgotten women’s activities, and some usually assumed to be in women’s domain but reinterpreted to present a more complicated view. This volume highlights the value of tangible resources and their ability to connect the public to the past and argues that local sites can offer Americans the specific connections to their present that they so desire when learning about the past.

The chapters are not organized into sections; instead, each chapter focuses on a different kind of public interpretation of women’s pasts. The topics include the development of walking trails or tours of women’s history, the imbalance between the number of statues and monuments honoring individual women as compared to men, Native American women’s efforts at cultural retention, reinterpreting historic house museums to reflect not only the man who owned the house but the women, free, servant, or slave as well. Several chapters address the need to reinterpret historic houses in order to take these marginalized women into account; however, the volume then devotes the largest number of chapters to address the need to represent women’s lives outside the home in order to avoid the “erroneous belief that women worked only in homes, either their own or someone else’s.”[20] Thus the volume includes essays on interpretation of women in familiar yet public places such as cemeteries, businesses, entire cities, and public commemorative celebrations and events.

The volume is a valuable guide for reinterpreting both domestic and public places in order to provide a comprehensive view of women. One example of the volume’s contribution to the improvement of historic house interpretation is Pamela K. Sanfilippo’s essay, “Sunlight and Shadow: Free Space/Slave Space at White Haven,” which examines the lives of the women who lived at Ulysses S. Grant’s Missouri farm home.[21] This shift in focus from the male owner of the home to the women, both his wife as well as the female slaves, represents a trend in the interpretation of historic houses to be more inclusive of all members of the household. The essay analyzes not only the written sources about the women’s lives, but also uses the architecture itself to uncover information about the relationships the women had to physical space and each other within the home. This use of the built environment is seen in the description of the differences between the comfortable areas of the home used by the privileged Julia Grant and the dark kitchens and bedrooms used by slaves. Also using archaeology, the study of White Haven revealed details about the enslaved women’s lives, such as having to hide broken dishes under the floorboards for fear of punishment.[22] Like many of the other works in the volume, this essay demonstrates the possible successes of using material culture, and the built environment more specifically, to discover information about women’s pasts.

The volume also provides unique ideas for interpretation of both women’s public roles and the public, visible commemoration of women. One essay describes the need for increased interpretation of women as entrepreneurs. Candace A. Kanes’ essay, “Revisiting Main Street: Uncovering Women Entrepreneurs,” explains why women’s place in business has been overlooked due to history’s focus on big business and women’s predominance in the domestic sphere. However, Kane explains that some women owned and operated small businesses that were important within their communities. She calls for those local businesses to be identified and properly acknowledged through various interpretive approaches including maps, interpretive panels, or plaques.[23]

Restoring Women’s History through Historic Preservation is a more extensive and comprehensive collection of essays regarding the interpretation of women’s history, specifically in the context of preservation projects. It makes a call for moving toward questions of women’s motivations, specifically in women’s involvement in the preservation movement. By improving understanding of women’s reasons for involvement and their contributions to the movement, those women can better be understood in their context. Explaining the advances in the interpretation of historic houses, the volume still maintains that other kinds of spaces are necessary to prevent spreading “the myth of women’s confinement in the domestic sphere while missing vital opportunities for marking women’s history in the more public arenas of the paid labor force and the community.”[25]

The incorporation of women’s history into public historical interpretation has been an ongoing process that began in both museums and historic sites as mere inclusion. However, with time and the continued efforts of women both in the academy and in public history institutions, the field has begun to push for more critical representations of women’s lives, experiences, contributions, and perspectives. Despite differences in interpretation between museums, which have better interpreted public roles of women, and historic sites, which have traditionally preserved and presented the domestic sphere, many common goals and approaches can be seen. It is clearly widely acknowledged by both preservation and museum professionals that public historians need to apply the best of women’s history scholarship in their representations to the public and present the most comprehensive view of women possible. Public historians need to fulfill the need for the ‘total woman,’ including the public and private spheres, the noteworthy and unusual, as well as the anonymous and the ordinary.

____________

Endnotes

[1] Edith Mayo, “Women’s History and Public History: The Museum Connection,” The Public Historian, (5:2), 1983, 68, http://www.jstor.org/stable/3377251. Accessed on November 20, 2013.

[2] Mayo, 63-73.

[3] Mayo, 67.

[4] Mayo, 68.

[5] Mayo, 68-69.

[6] Barbara Melosh, “Speaking of Women: Museums’ Representation of Women’s History,” History Museums in the United States: A Critical Assessment, Edited by Warren Leon and Roy Rosenzweig, (Urbana: University of Illinois Press), 1989, 183-214.

[7] Melosh, 200-201.

[8] Melosh, 202-203.

[9] Melosh, 207.

[10] Melosh, 209.

[11] Laura Brandon, “Looking for the ‘Total’ Woman in Wartime: A Museological Work in Progress,” Gender, Sexuality, and Museums: A Routledge Reader, Edited by Amy K. Levin, (London: Routledge), 2010.

[12] Page Putnam Miller, editor, Reclaiming the Past: Landmarks of Women’s History, (Bloomington: Indiana University Press), 1992, 13.

[13] Miller, ed., 7.

[14] Miller, ed., 3.

[15] Miller, ed., 71.

[16] Dubrow, 112.

[17] Dubrow, 112.

[18] Dubrow, 130-131.

[19] Polly Welts Kaufman and Katharine T. Corbett, editors, Her Past Around Us: Interpreting Sites for Women’s History, (Malabar, Florida: Krieger Publishing Company), 2003.

[20] Kaufman and Corbett, 4.

[21] Kaufman and Corbett, 103-120.

[22] Ibid, 114.

[23] Kaufman and Corbett, 189.

[24] Dubrow and Goodman, 2-3.

[25] Dubrow and Goodman, 7.

[26] Gail Lee Dubrow and Jennifer B. Goodman, editors, Restoring Women’s History through Historic Preservation, (Baltimore: Johns Hopkins University Press), 2003.

[27] Dubrow and Goodman, 96-110.

Bibliography

Brandon, Laura. “Looking for the ‘Total’ Woman in Wartime: A Museological Work in Progress.” Gender, Sexuality, and Museums: A Routledge Reader. Edited by Amy K. Levin. (London: Routledge). 2010.

Dubrow, Gail Lee. “Claiming Public Space for Women’s History in Boston: A Proposal for Preservation, Public Art, and Public Historical Interpretation.”  Frontiers: A Journal of Women Studies. (13:1). 1992. http://www.jstor.org/stable/3346948. Accessed November 22, 2013.

Dubrow, Gail Lee, and Jennifer B. Goodman, editors. Restoring Women’s History through Historic Preservation. (Baltimore: Johns Hopkins University Press), 2003.

Kaufman, Polly Welts, and Katharine T. Corbett, editors.  Her Past Around Us: Interpreting Sites for Women’s History. (Malabar, Florida: Krieger Publishing Company). 2003.

Mayo, Edith P. “Women’s History and Public History: The Museum Connection.” The Public Historian. (5:2). 1983. http://www.jstor.org/stable/3377251. Accessed November 20, 2013.

Melosh, Barbara. “Speaking of Women: Museums’ Representation of Women’s History.” History Museums in the United States: A Critical Assessment. Edited by Warren Leon and Roy Rosenzweig. (Urbana: University of Illinois Press). 1989, 183-214.

Miller, Page Putnam, editor.  Reclaiming the Past: Landmarks of Women’s History. (Bloomington: Indiana University Press). 1992.

History in Song: “Alive with the Glory of Love” by Say Anything

An alternative rock song about the Holocaust? That probably sounds strange. And the result has been described as an “intense and oddly uplifting rocker about a relationship torn by the Holocaust.” (Pittsburgh Post-Gazette)

“Alive with the Glory of Love” (2004) by the emo/indie/alternative rock band Say Anything, is loosely based on the lives of the grandparents of the band’s lead singer and songwriter, Max Bemis. Both of his grandparents were Holocaust survivors.

The song tells the story of two lovers during the years of the Holocaust moving from the ghetto, to hiding, to work camps. But does so to an upbeat punk rock beat rather than anything one could call sentimental. A bit irreverent and written with more modern language, the song actually does a wonderful job of humanizing, personalizing, and giving agency to the story of Holocaust survivors.

The terrible atrocities of the Holocaust included dehumanizing entire groups of people including the Jewish, disabled, homosexuals, and others; however, the humanity of these groups lived on in their love for their partners and families, in their resistance, overt and covert, and in their ability to rebuild lives and communities after the war. Some depictions of victims and survivors of the Holocaust can put too much emphasis on what happened to them rather than what they were able to actively do in the face of such great oppression. This song shines a light on the relationships and emotions that victims might have felt when facing potential separation.

This song also demonstrates that all genres of music can be inspired by the past and are often connected to personal and family histories as well.

Music video: https://www.youtube.com/watch?v=CUws596eChQ

Lyrics:

When I watch you, want to do you, right where you’re standing yeah
Right on the foyer on this dark day right in plain view oh yeah
Of the whole ghetto, the boot-stomped meadows, but we ignore that yea
You’re lovely baby, this war is crazy, I won’t let you down oh no no no
I won’t let them take you, won’t let them take you hell no no
I won’t let them take you, won’t let them take you hell no no
No oh no no no

And when our city vast and shitty
Falls to the Axis, yeah [the Axis powers of World War II consisted of Germany, Italy, and Japan.]
They’ll search the buildings collect gold fillings, wallets, and rings [the Germans were notorious for stealing any item of any value from the Jewish people including even their gold fillings and personal effects.]

But Miss Black Eyeliner you’d look finer with each day in hiding oh yea
Beneath the worm wood, ooh love me so good, [this line evokes the image of hiding beneath floor boards to avoid being taken away to the camps. Some Jewish theology equates wormwood with evil or at least with bitterness, but I am far from an expert there.]
They won’t hear us screw away the day, I’ll make you say

(Alive, alive, alive with love)
No I won’t let them take you, won’t let them take you hell no no
Oh no I won’t let them take you, won’t let them take you

Our Treblinka is alive with the glory of love [Treblinka was a Nazi extermination camp in Poland and was the site of the genocide of 700,000-900,000 Jewish people and 2,000 Romani people by gas chamber]
Treblinka, alive with the glory of love yea
Should they catch us and dispatch us to those separate work camps yeah
I’ll think about you, I’ll dream about you
I will not doubt you with the passing of time
Should they kill me your love will fill me as warm as the bullets
I’ll know my purpose, this was was worth this, I won’t let you down
No I won’t, no I won’t, no I won’t
(Alive, alive, alive with love)
I won’t let them take you, won’t let them take you hell no no

** A few details of the song are not representative of the majority of the experiences of Holocaust victims. Since Treblinka was an extermination camp, not a work camp, the vast majority of people were immediately killed upon arrival with just a few men put to work to operate the gas chambers and bury the dead. Gas chambers replaced guns as the primary way of carrying out the genocide.

Organize Your Family Archives (Like Monica Geller): Step 3

Step 1: Start.

Step 2: Keep sorting and do your research.

Step 3: Make some storage decisions.

Now that you have sorted your collection, done your research to decide where each item should go, and assessed the size and condition of your collection, you are ready to decide how you want to store it. Album, scrapbook, or box? This depends on your specific goals for your collection and the features of your collection include size and condition.

IMG_3477
The one example we don’t want to take from Monica–storage.

Have a relatively small collection in good condition and want to whip it out whenever you have company and show off your photos and the stories behind them? A scrapbook may be the ticket. More effort is needed up front to create a visually appealing scrapbook, and care needs to be taken to use archival materials, but this is a viable option if you are feeling creative. This is also a good option if you have photos and related documents that you want to keep together for context. I will be scrapbooking my wedding photos and have made scrapbooks in the past for special occasions and vacations.

Photo albums are likewise easily accessible and easy to share with visitors. A little tricky if you have many photos of various sizes though. And not ideal if you have a large collection and not a lot of shelf space as they can get bulky. Photo albums with caption spaces are great for recording all those details you learned in your research.

Archival boxes are usually best in terms of preservation since they are completely enclosed and will most be most efficient in terms of space if you have a large collection. Boxes are best for fragile photos that can’t stand up to the page turning involved in albums. Photo boxes comes in a variety of sizes.

boxoption
Photo box from Gaylord Archival. Image from http://www.gaylord.com

When ordering your supplies, pay attention to dimensions, materials (remember to look for acid and lignin free), and capacity. You may also want to invest in some archival quality pens, or pencils, acid-free tissue paper, folders, envelopes, or archival sleeves, depending on the storage solution you decide on.  Part of the services I offer includes helping you make these supply decisions based on the specifics of your collection.

Now is also when you may want to decide if you want to digitize your collection before you file it all away. It’s a good time to scan, label, and save your digital files before you find a more permanent home for the physical copies.

cellphonetechnology
No judgement, but join the 21st century and digitize!

In today’s age, I recommend digitizing your photos for many reasons: accessibility, sharing, and preservation being the top. Digitizing your photos means you can access them at any time without physically needing to pull them out–this makes it quick and easy to locate particular images and also connects to preservation. The less the physical copy is handled and exposed to light, dirt, oils in your fingers, etc. the longer it will last.

Finally, the biggest advantage of digitization is the ability to share your family photos with your family and friends even across physical distances. I plan to digitize my family collection to be able to share with my parents and siblings as we are spread across three different states.

Like the physical files though, to digitize you need to consider storage. Depending on the size of your collection, you could need much more digital space than you should probably be putting on your hard drive (it would slow your computer down quite a bit), or then you could fit on a standard flash drive. I would recommend an external hard drive and/or a cloud-based application. My husband and I have an Amazon Prime account which includes unlimited photo storage so I will be making use of that feature in addition to saving the images on an external hard drive. Having two copies helps ensure you don’t lose your files! Other cost efficient cloud options include Google Drive, Dropbox, iCloud, and Flickr. These options are make sharing much easier. And sharing is caring. 🙂

sharing

Stay tuned for next steps including the digitization process, file naming and labeling!

Organize Your Family Archive Like Monica Geller: Step 2

Step 1: Start – Prepare your space and dive in to the sorting.

Step 2: Keep Sorting and Start Researching

So you’ve started trying to sort through your family photos, but may have been overwhelmed by the sheer number you have, or how many you weren’t sure about either the date, the people pictured, or the location.  Deep breath. This may be when you decide to stop and hire professional help. *ahem–me* Or if you want to dig a little deeper for your inner Monica Geller, here is how to proceed.

IMG_3451

I began sorting by decade, knowing that everything would not be in perfect order right away, which is totally fine. Now that everything is roughly sorted, I am going through each decade’s pile with a more discerning eye to the order with the aim to get everything in chronological order, at least to the right year. If many photos are undated, it will be nearly impossible to have the photos in month/date order as even the people who lived through the events in the photos may not be able to remember which happened first or exactly what month and day.

IMG_3457

So if your photos are undated, how do you go about deciding which order they should be in? The first step if possible is to ask the subjects of the photos, the person who was likely behind the camera, or other close relatives who may recognize the subjects, places, or time periods.

IMG_3469

Even Monica could use a little help from her relatives…

 

What some of my research looks like–texts to my mom.

But what if no one remembers? There are other ways to figure out approximate dates. Obvious first options–check the front and back of the photo for the dates that were printed on the photo. Keep in mind that those dates are when the photos were printed, not taken. Depending on how quickly you or your relatives took their film to be developed will determine how close those printed dates are to the taken dates.

nanaphotos

Also common are handwritten dates and other info on the backs of the photos. If there is identifying information on some photos, you can then use context clues for similar looking photos–photos of family members where they look the same age, photos taken in the same house, etc.

 

It is also helpful to pay attention to hairstyles, styles of dress, and background details including signs, places, home decor, etc. to get an idea of time period. (Hopefully your family wasn’t behind the times too much.)

80sfriends

The size of your prints can also be a general clue to age. For example, standard 4×6 wasn’t the standard until the 1990s. Smaller prints were more popular in the 1970s and 80s. And even smaller prints (like teeny tiny) were common in the 1940s. And finally, if in doubt, using estimations is fine.

IMG_3576
A print from the 70s, two from the 80s (one early, one late), and two from the 90s (one early, one late).

Now, what do you do with the information you gather from relatives and your research about specific images? For now, I would recommend making notes on a separate piece of paper. Writing on the photos themselves is not recommended for two reasons, physical preservation of the photo, and preservation of the context of the photo. If you add your own notes to the back of a photo that already has writing on it, or worse, you write a note that turns out not to be correct, later viewers of the image may not be sure what was written originally and what was added later.

The information is better added later in a caption in a photo album (with an archival quality pen or pencil) and in the digital record’s metadata, which we will discuss more in depth later.

As you go forth and gather information from relatives also consider recording more formal oral history interviews with them. There is nothing like preserving a relative’s voice and their stories. More on oral histories later or contact me to see how I can help.

Stay tuned for next steps–deciding on storage, both physical and digital, and labeling.