Category: Uncategorized

by Rebecca Johnston

Many United States citizens have become more interested in politics in the last year, spurred on by such events as the 2020 Presidential election and January 2021’s attempted capital insurrection. Because of these new conversations around civic engagement, many cultural heritage institutions are weighing in and promoting their own collections and interpretations. To increase civic engagement and knowledge within the city of Pittsburgh and beyond, the Senator John Heinz History Center launched the America 101 initiative in October 2020. This wide-ranging proposal includes events hosted by the History Center, the formation of a coalition with civic and history organizations across the country, and the development of two mobile applications. The History Center’s goal is that by 2026, the citizens of Western Pennsylvania will know more about American history and demonstrate this knowledge by passing the history and civics portion of the U.S. citizenship test. The motivation for this proposal was in part the passage of Act 35 in Pennsylvania, mandating that all middle and high schools test their students on the “history, government, and civics” of the United States.

As an online viewer, this project includes quite a few items of interest, although I will focus on only one in detail here: the History Center’s development of two free mobile apps, Citizen You and America 101. After downloading both, I can attest that they are both appealing in different ways. Citizen You “gamifies” civic engagement and service in day to day life. Choosing from a wide variety of activities, users can earn points in return for making a positive impact in their communities, including voting, volunteering, and connecting with others. In order to reinforce this behavior, Citizen You encourages you to connect with other users and see how they are being good citizens. Clearly, this app targets members of the public interested in social media, and there has been some success because users are choosing to participate. Meanwhile, America 101 focuses on the collections within the History Center; available through the GuidiGo, the app leads users through exhibits at the History Center and challenges them to engage by answering questions and photographing specific items. Directed toward younger users, this app also awards points. Unfortunately, neither Citizen You nor America 101 have received reviews by users, so it is difficult to tell how the apps are being received.

While these apps present interesting opportunities, I think it is worth noting some potential issues with the cohesiveness and impact of this project. For example, the development and implementation of America 101 involved a number of different departments—including Marketing and Communications, the Library and Archives, and IT, at the very least—but the project seems to be fairly decentralized, with each department taking part in different activities. This makes me wonder what the experience of this initiative would be like on the ground—whether it would be difficult to carry the themes of the initiative throughout an experience at the History Center, making it less impactful overall. Furthermore, outside of the History Center’s website, there does not seem to be much publicity about the initiative as a whole. The Pittsburgh Post Gazette has not reported on it, and the History Center’s Twitter makes only a few mentions of minor events associated with the initiative.

I originally chose the America 101 initiative because I was so impressed with all that the project entailed, as well as its mission in general: I also think it is important to promote civic education and engagement. And as many of our course readings have pointed out, our role as cultural heritage professionals is to engage in social justice work, whether it be in what we collect or what we display (see Jimerson’s “Archives for All”, Through the Archival Looking Glass). According to the History Center, it is “committed to telling the American story and inspiring a community of citizens to explore what it means to be an American.” This initiative clearly falls in line with those goals, but there did seem to be some gaps or disconnect in implementation. With the whole of Western Pennsylvania as the intended audience, it is difficult to specifically engage with groups and make an impact, and while the timeline of 2026 gives some breathing room to make progress, it also seems like there is not currently enough advertising or public awareness to promote this project. America 101 provides an excellent opportunity for outreach, especially to students, but it has not yet made the impact that could be possible.

by Rose Dionne

Online may not be the word that springs to mind when one thinks of the State of Maine, but maybe it should be. Maine Memory Network is an online archival resource sharing network created by Maine Historical Society that currently works in partnership with almost three hundred other cultural heritage organizations all over the state of Maine. This project’s mission is to digitize Maine’s history, have a place to share the collections related to it and provide context through essays, digital exhibits and educational resources. These resources can be easily accessed by the public and also cultural heritage professionals at other institutions in the area, creating a more connected understanding of local history that is based on more widely distributed resources than any one institution has access to.

Maine Memory Network was launched in 2006, with 10,000 records contributed by 160 organizations. Today there are over 45,000, resources dating from ancient archeological findings from the many Native Americans that have called this place home, plenty of 19^th century photographs of a flourishing trolley system, and prominent citizens, to digital photographs from the 2000s of mill towns going through downtown revitalizations, and oral histories told by people who have spent their whole lives in Maine. With this range of collected materials there is something for almost everyone, and every project. It is also an active website with many of the newest exhibits focused on Maine’s recent bicentennial, which is an event that Maine Historical has been taking the lead in commemorating.  While Maine Memory is certainly not a comprehensive resource of all the archived material that exists in the hundreds of archives, libraries, museums and historical societies, all over the state, (Maine Historical notes that only 1% of their collections are available on Maine Memory Network) it’s strengths lie in the specific resources aimed at teachers or anyone curious about history. While this site is not really aimed what might be considered the traditional archival audience, the fact that much of the material is curated into exhibits and lesson plans that are aimed educators, young students or average people makes it a great advocacy tool. Teaching young people that these resources are out there is important for creating a generation of people who will use and advocate for archives.

Another element of archival outreach that this project accomplishes is towards local institutions. While 50% of the Network’s resources come directly from Maine Historical Society, that means that half are from those other cultural heritage organizations. Many of the organizations that share their resources on this platform are small historical societies and local libraries that may not have the funding or resources to create and maintain their own public digital collections database. By giving them a place to share those collections Maine Memory Network creates an online presence and public access to the materials specifically, but that also leads to a larger audience. If three hundred different organizations are directing collections material and people to one website that creates both a wide-ranging collection, and wide-ranging audience.

Sharing resources in the chronically underfunded cultural heritage field is a fantastic practice that can expand access to collections, access to well curated information and create a larger audience than any one organization can reach. As an outreach project this network reaches cultural heritage organizations that can expand the network, and people who might not otherwise work with archival resources regularly. Maine Memory Network brings an awareness and appreciation of history, that all arc

by Jorie Thuon

The Keeler Tavern Museum is a historic home and museum located in the town center of Ridgefield, CT. Once a farmhouse, tavern, stagecoach stop, post office, hotel, and home to famous architect Cass Gilbert, the house has a long and rich history as well as a strong connection to the local community as demonstrated by its tireless outreach efforts, including through school programs, exhibits, and events. These outreach efforts and more are outlined in the museum’s newly updated website, which serves as an introduction for new visitors or those limited by travel constrictions by focusing on the tavern’s importance, history, physical and electronic collection, and various social events.

Upon entering the website, the visitor is greeted first by an enthusiastic description of the museum and its history accompanied by photos of highlighted events; in this case, the museum’s newly minted digital learning programs and an upcoming village exhibition. A bright red banner across the top of the homepage draws attention to the museum’s most recent advocacy efforts, including funding they’ve secured to make improvements to their collection and grounds. This flashy display serves the dual purpose of allowing the visitor to see the museum’s growth and to publicly acknowledge those who made the growth possible.

The search bar divides the website into ten separate tabs, each with subdivisions. These tabs break up the mass of information given on the website into different areas of use. The visit tab, for example, appeals to in-person visitors by providing information about hours of admission, walking tours, and local attractions while the education tab appeals to educators, guardians of young children, and those searching for professional development workshops. Bulkier than the others, the history & research tab directs researchers and those interested in exploring the museum’s collection to search through the archive and its large electronic database.

Although Keeler Tavern Museum is, at its core, a historical attraction, the website also promotes the social events hosted by the museum and gives information on how different parts of the campus, such as the garden house, can be rented out for weddings and corporate events. In this way, the website serves not only to advertise the historic site but also those attractions which support and fund it.

 

This trend of self-advocacy continues throughout the website as constant attention is placed on the role of the museum in the community, its long history, and even its economic impact on the town, state, and country. The support tab, headed by a paragraph describing the importance of funding to the museum’s running and accompanied by scrolling pictures of education events, serves to garner an effective emotional plea to visitors while simultaneously collecting donation information into one place. In addition to the support section, volunteer and collection donation descriptions are scattered throughout the site and links to donate resources pop up at various points while exploring.

Museum websites are constantly evolving objects and the Keeler Tavern’s online platform is no different as is made clear by the abundance of pandemic news present throughout the site. Rather than condense their response into a single announcement, however, the museum has made a great effort to insert relevant information into the already existing tabs as well as developing explanations for newly implemented programs, such as the digital learning programs for K-8 students. These explanations are often lengthy, however, and can become overwhelming for the visitor by making it difficult to sort out important information.

Beyond the main website, the museum has made an effort to highlight their mailing list, social media outreach, and trip advisor accounts in order to stay connected with their patrons on all platforms. Additionally, a link to Destination Ridgefield, a website showcasing the town’s culture and destinations, and a description of the locally famous Battle of Ridgefield serve to further ground them in the surrounding community and into their visitors’ lives.

Further Reading

Keeler Tavern Museum: https://keelertavernmuseum.org

Destination Ridgefield: https://www.destinationridgefield.com

 

by Smith Umland

Harvard Business School’s Baker Library Special Collections always takes full advantage of its spot just inside the front door of the library with its exhibitions and it’s no different with Photography and Corporate Public Relations: The Case of U.S. Steel, 1930-1960. The exhibition stands in the front lobby, which is visible from both front and back entrances and the vibrant blues and golden yellow accents of the backlit stanchions and displays catches the eye no matter which door you step in. Four stands in the corners of the room and a table by the front door hold 40-page booklets designed to accompany the exhibition, full of background information, contributions from the director of Special Collections, Laura Linard, and the guest curator, Melissa Banta, and high quality photographs of the pieces shown in the exhibition. Even this initial introduction shows the resources the department has available and how much has gone into this collection, it’s maintenance, and now it’s exhibition.

Eight glass cases stand on either side of backlit displays that organize the exhibition into eight themes that are based on the various public relations strategies that the steel industry took during this time period. Once in the center of these displays, a look to either side shows there are two additional rooms with the broader themes of “Public Relations and U.S. Steel” on one side and “Corporate Commissions and Industrial Photography” on the other. The exhibit’s structure allows anyone to walk into any of the three sections and be able to begin to move through the exhibition from exactly where they are. Unfortunately the stanchions and structure of the exhibition don’t direct you to the reading room of the Special Collections, which is on one side of the front lobby just past the front door. The focus is on the objects themselves, as a way of showing what the archives collect, how it is relevant to Harvard Business School, and how large their collection is. The exhibition displays high quality photographs, original advertisements and marketing materials, books of photography that were released to the public, internal communication and records, and even a video.

It’s clear that this exhibition is designed to capture not only the gaze of students, faculty, and staff who move through the building, but also tourists, who can actually catch a weekly tour of the building starting near the reading room’s entrance. These people can see, first, that the Business School Archives holds amazing collections, but second that the archives support the mission of the Business School by collecting records having to do with one of the largest industries in the U.S. The first aspect might be geared more towards the public in general, but the second one is most certainly geared towards students and faculty, who are there specifically to do research on business and economics. In this way the Special Collections engage with more traditional users, while also demonstrating their value and power of and to not only the Business School, but Harvard overall, as they show just how much Harvard has in terms of collection size, financial value, and research value. This exhibition is a vibrant way to introduce whoever might come to the Baker Library to a small sample of what this archives can provide. It’s clear from the images of further records (such as individual pages from larger books or photographs and advertisements) not on display that this collection is so much larger than what is shown, and works to pull visitors in to not only everything this collection can offer, but also everything the archives can offer, especially in terms of powerful and U.S.-shaping corporations. This is exactly what visitors to the Business School are looking for, whether the public or faculty, staff, or students. It’s clear the department is aware of this and this exhibition is an excellent demonstration of that.

by Hannah Arnow

The exhibit is hard to miss. As you cross the threshold into Thomas Crane Public Library in Quincy, MA a brightly painted image declaring, “Don’t look back… you’re not going that way” captures your eye. Vivid, bold, it invites you into the exhibit, which is off to the left as you enter.

The exhibit, “Our Voices: Woodward Celebrates 100 Years of Women’s Suffrage,” celebrates the centennial of the ratification of the 19th amendment, which granted women the right to vote in the United States. The exhibit features the paintings of 24 art students at the Woodward School for Girls in Quincy, MA. The students were asked “what messages they would want people to rally behind today” and these paintings are their response.

The exhibit reaches two audiences: Student Artists and the Community.   Marguerite White, the art teacher at the Woodward School, frames this exhibit as a learning opportunity. She taught students to engage with history and archival materials in a new way and how to incorporate it into their art. She guided her students through an examination of old suffrage posters to learn how women in the past articulated their beliefs and presented strong messages. These lessons show through their attention to detail and strong messages. The artwork, created by the students, reflects bold messages about climate change, women’s rights, immigrant rights, vegetarianism, self-love, coming out, and more. This exhibition creates a space for these art students to share their passion and their voices at the library. Through amplifying the students’ work, the library created a conversation piece, sparking a community engagement.

As you approach the exhibition space, there is a small sign and notebook: “We welcome the chance to hear from the community, so please take a moment to add your own thoughts or concerns in the notebook below.” This exhibit reaches out, beyond the art, asking the observer to participate. It welcomes you in and asks you the same questions posed to the students. It creates a community dialogue.

These paintings moved me. As I took in the names and ages of the artists, the concerns that preoccupied these students caused me to reflect on my own beliefs and the causes that have stuck with me from childhood. I slowly walked through the exhibition, taking it all in. Before leaving, I wrote a comment and felt connected to these students and their causes. With this exhibit, Thomas Crane Public Library creates a space for the community generally, along with the students specifically, to have their voice heard and displayed.

This exhibit invites the community into the library and into art. It encourages people coming into the library to see it as a space where their voice – all our voices – matter. Where they can be heard and be a part of the community. The library uses art to reach into the community, transcending traditional barriers, and inviting people to engage with the institution in a new way.

The exhibit will be on display through the end of February 2020. If you are unable to attend in person, you can view the “Our Voices” Exhibit virtually through Thomas Crane Public Library’s flickr: https://www.flickr.com/photos/thomascranelibrary/sets/72157712914607312/with/49468630141/

 

Learn more about the “Our Voices” Exhibit through the words of the artists with a Quincy Access Television interview with Marguerite White and some of the Woodward Art Students: https://www.youtube.com/watch?v=zn2wDb_PpTA&feature=youtu.be

Thomas Crane Public Library hosts monthly art exhibits that serve to invite the community in and visit the library. They are intended to be thought provoking and provide a point of conversation between the artists on exhibition and the community. Learn more about Thomas Crane Public Library’s current exhibits here: http://thomascranelibrary.org/events/exhibits

 

 

by Lily Eisenthal

When the Minnesota Legislature is in session from January to May each year, David Kelliher’s laptop bag becomes his office. As the Director of Government Relations and Public Policy for the Minnesota Historical Society (MNHS), he often finds himself making the short walk between the State Capitol building and the MNHS’s headquarters at the History Center multiple times a day. He stresses the importance of being present, because those who show up “get to participate, watch the process, and build relationships.” Building relationships with both legislators and their constituents is key in his work, which is all about advocating for public history in Minnesota and making sure that the Historical Society gets the funding that it needs to operate as a research center and museum and to maintain the 26 historic sites it manages across the state.

Kelliher first visited the Minnesota State Capitol as a student at Carleton College, through a course he took with Paul Wellstone called State and Local Government that involved weekly field trips up to Saint Paul to watch the Legislature in action. He also discovered the Minnesota Historical Society during this time, conducting research in their archives for a seminar paper. After graduating from Carleton with a B.A. in history in 1986, Kelliher continued to explore his interests in both policy and history, working on a historic building survey in Illinois, taking a job as a staffer at the Minnesota Capitol, and eventually landing at the Minnesota Historical Society. He started out at MNHS developing programs and writing grants, but when the person who had been lobbying for their budget retired, the Historical Society asked Kelliher if he would take the position. He jumped at the chance and has been working in this unique role for twenty-some years since.

Kelliher says that each of these years has been different. In fact, not even two days in his job have been quite the same, but what it really boils down to is talking to people. He finds that being able to communicate clearly is a must. Crisp and informative writing is essential, whether he’s preparing materials for a formal presentation to legislators about one of the Historical Society’s capital projects or simply responding to an email from someone interested in the MNHS grant application process. Kelliher engages in a lot of what he calls “direct advocacy,” where he works directly with the government to promote the work of the MNHS. He notes that getting the message out can sometimes be challenging. There is a lot going on at the Capitol and it can be hard to get legislators’ attention. Kelliher likes to raise awareness and make connections with legislators by inviting them over to the History Center for behind-the-scenes tours or to check out programs at a historic site in their district. There is also a grassroots side to the work that he does, reaching out to people in communities across the state in order to create a network of people who care about public history and can in turn become advocates for the MNHS.

One of Kelliher’s biggest successes in both grassroots and direct advocacy came in November of 2008, when Minnesotans voted in favor of the Clean Water, Land, and Legacy Amendment. The amendment raised state sales taxes to set aside four funds, one of which is the Arts and Cultural Heritage Fund (ACHF). A portion of the ACHF is appropriated to the Historical Society each year, which they then use to administer a grants program and to fund programming, partnerships, and other projects. This unique piece of legislation is the result of years of planning, organizing, and coalition-building with the arts and outdoors communities. Kelliher says that in the past, grants had come in fits and starts, and that the Legacy Amendment allowed for a consistent stream of grant funding in the state. Kelliher is happy that Legacy funds have been accessed by a broader network than initially expected: he notes that community oral history projects have been just as popular as more traditional preservation or research projects at established institutions.

In closing our interview, I asked Kelliher if he had any advice for new cultural heritage professionals interested in outreach and advocacy work. He emphasized the importance of making an effort to understand your audience and how they see the world. Don’t talk past the people you are trying to reach, talk with them. Respectful conversations will help you find the best ways to connect people with resources that will enrich their lives.

by Mattie Clear

The Historic Congressional Cemetery has gone to the dogs, in all the best ways. Before the wonders of the Washingtonians and their ingenuity can be appreciated, one must know the story of this small, but important cemetery. From its formation in the early 1800s, it was immediately associated with the US Congress; it predates Arlington National Cemetery by 50 years. This close tie is evident through the plots purchased by Congress for Congressional Representatives who died while serving in Washington.^[1] Outside of this early history, Congressional Cemetery is known for its interment of a larger number of LGBTQIA+ identifying deceased and is one of the few (if not only) cemeteries in the country with an LGBTQIA+ section, which was  established in 1988.^[2]

While the cemetery enjoyed great prominence and prestige through the 19th and early 20th centuries, the cemetery was largely forgotten in the late 20th century. This fading from collective consciousness prompted its addition to the National Trust for Historic Preservation’s list of the most endangered historic sites in 1997. Following Congressional Cemetery’s addition to the list of the most endangered historic sites, community members took it into their own hands to save their neighborhood cemetery through self-taxation.^[3] As one of the only green spaces in the area, with the added bonus of being fully enclosed, it is no surprise that individuals enjoyed walking their dogs there. It was this taxation that grew into the K-9 Corps that currently provides about one-fourth of the operating costs of the cemetery (this is approximately the cost of maintaining the grounds).^[4]

The K-9 Corps is composed of a group of Washington locals who wish to use the cemetery as a place to walk their dogs. This program informally began in the 1990s and has grown to include 770 dogs and more than 400 people on a waitlist to become members. Memberships are purchased yearly beginning March 1 for $235 with a $50 fee per dog and a maximum of three dogs per membership. This membership also includes a mandatory volunteer commitment of eight hours per year.^[5] In March of 2018, I had the pleasure of speaking to then Program Director, Lauren Maloy, who further elaborated on the information provided on the website. She explained that members must go through an orientation session and, upon completion, receive tags for their dogs that are checked by an individual at the gate every time they enter the cemetery. Dogs are allowed in the cemetery any time except during funerals, special events, and Saturdays from 11AM-3PM. The three canine-free hours each Saturday allow visitors who may not feel comfortable around dogs to visit the cemetery. When I spoke with Maloy, the waitlist for joining the K-9 Corps was over 200 individuals, thus indicating the success of such an out of the ordinary fundraising and outreach efforts.

Members are not the only ones who can enjoy the cemetery, Non-members of the K-9 Corps may bring their dogs to the cemetery, for a fee of a $10 day pass. In addition to this fee, the non-member owners are required to read and sign a waiver that is to be carried with them while in the cemetery.^[6] The one exception to this rule is Congressional Cemetery’s “Day of the Dog” Celebration. This celebration occurs annually in May and is the one day that the cemetery is open to all dogs for free. “Day of the Dog” typically includes raffles, pet-related vendors as well as local food and brewery options. While not explicitly related to the K-9 Corps, “Day of the Dog” is a way for the cemetery to pay homage to the community that helped save it.^[7]

Today, due in large part to the continued support of these dog walkers, Congressional Cemetery is flourishing as an active cemetery and tourist destination.  Following a trend of novelty, Congressional Cemetery’s program is rather out of the ordinary for similar cemeteries and includes soul strolls in October where the center chapel is transformed into a bar,  Yoga Mortis, Tombs and Tomes book club, Cinematery, and many more. For more information about this cemetery and all that it has to offer, please visit their website at https://congressionalcemetery.org for the most up to date information. For specific information regarding the K-9 Corps please visit, https://cemeterydogs.org.

 

 

 

Bibliography

 

“Cemetery Dogs: Serving the Historic Congressional Cemetery.” Historic Congressional Cemetery, 2019. https://cemeterydogs.org.

“Day of the Dog at Congressional Cemetery.” Historic Congressional Cemetery, 2019. https://hccemetery.wixsite.com/dayofthedog.

“Dog Walking.” Historic Congressional Cemetery, 2019.  https://congressionalcemetery.org/dog-walking/.

“Historic Congressional Cemetery – History.” Historic Congressional Cemetery, August 14, 2019. https://congressionalcemetery.org/history/.

“K9 Corps Waitlist: Frequently Asked Questions.” Historic Congressional Cemetery, 2019. https://cemeterydogs.org/membership/.

“Walking Tour: LGBT Community.” Historic Congressional Cemetery, 2019. https://congressionalcemetery.org/wp-content/uploads/2019/07/LGBT-tour.pdf.

 

 

^[1] “Historic Congressional Cemetery – History,” Historic Congressional Cemetery, https://congressionalcemetery.org/history/.

^[2] “Walking Tour: LGBT Community,” Historic Congressional Cemetery, https://congressionalcemetery.org/wp-content/uploads/2019/07/LGBT-tour.pdf.

^[3]  “Historic Congressional Cemetery – History,” Historic Congressional Cemetery, https://congressionalcemetery.org/history/.

^[4] “Dog Walking,” Historic Congressional Cemetery, https://congressionalcemetery.org/dog-walking/.

^[5] “Cemetery Dogs: Serving the Historic Congressional Cemetery,” Historic Congressional Cemetery, https://cemeterydogs.org.

^[6] “K9 Corps Waitlist: Frequently Asked Questions,” Historic Congressional Cemetery, https://cemeterydogs.org/membership/.

^[7] “Day of the Dog at Congressional Cemetery,” Historic Congressional Cemetery, https://hccemetery.wixsite.com/dayofthedog.

How Alaskan advocacy gives the Sheldon Jackson Museum a fighting chance in the face of imminent peril

By Karen Trop

 

IN EARLY MARCH 2019, word spread across the state of Alaska that newly incumbent Governor Michael Dunleavy was trying to sell the state-run Sheldon Jackson Museum (SJM).^[1] Governor Dunleavy was elected on a campaign platform that promised to increase the value of the permanent fund dividend (a once-per-year check cut to all eligible Alaskans from the state’s oil revenue coffers) from an average of $1,600 to an amount close to $6,000.^[2] Once in office this promise materialized in the form of severe and unprecedented budget cuts across all aspects of the FY2020 state budget. In response to Dunleavy’s directive to reduce spending, the House Finance Subcommittee for the Department of Education and Early Development announced the state’s plan to “sell or transfer” the SJM^[3], one of Sitka’s premier tourist destinations with a collection of 5,900 artifacts representing all of the native groups in Alaska.^[4]

The public swiftly responded to the news. Over the next few weeks key Alaskan political figures, Alaska residents, professional organizations and advocacy groups came out in organized opposition to the museum’s sale. Within days of the news breaking, Senator Bert Stedman went on record to call the  plan “crazy.”^[5]

Simultaneously, the Friends of the Sheldon Jackson Museum (a non-profit fundraising network for SJM) posted their own call to action. The Friends encouraged supporters to spread the news, including that “if you are associated with an organization you might consider having a supporting article in your newsletter.”^[6] The Friends’ impassioned plea for supporters to email the Division Director, State Libraries, Archives and Museums, as well as Chief Curator, Alaska State Museums, their support is as follows:

Let them know you wish them to do everything in their power to save the Sheldon Jackson Museum from this pillage. Give them your experiences at the Museum and if you’ve had family and friends from out of town, let them know that too. If your kids have experienced programs or had the chance to use the hands-on materials let them know. The Sheldon Jackson Museum is an EDUCATIONAL INSTITUTION!^[7]

Later that week, Museums Alaska (a professional organization for Alaskan museums and professionals) published an “Advocacy Alert” informing readers of the SJM’s threatened status. In similar form, the post also encouraged readers to share social media posts in support of SJM while tagging their elected officials’ social media handles. Other resources provided were a template letter of support for SJM and a call for interested parties to participate in the organization’s Advocacy Task Force.^[8]

The Board of Directors of Museums Alaska also sent a letter of support directly to Gov. Dunleavy’s office. The letter argued, among many aspects, that the SJM operates as “an economic driver and beloved community asset.” The letter strongly discouraged selling the museum’s collection on the hypothesis that the sale “would require a great deal of time, money, legal assistance, consultation with tribes, and possibly even court proceedings.”^[9]

In the following weeks, local news outlets continued their coverage on SJM’s uncertain future. KCAW Radio published an opinion article written by Friends of SJM board member Rosemary Carlton, titled “A passionate opponent of closing the doors on Alaska’s history.”^[10] Carlton’s opinion that “this invaluable collection should remain in Alaska and forever have its doors open” would reverberate through public testimony.^[11] As reported by Robert Woolsey, KCAW, sixty-two Sitka residents voiced displeasure with the state’s budget cuts on the whole at the Town Hall meeting of March 24. Frederick Olsen, Jr. spoke directly against the proposal to sell the museum, saying:

I guess one of the last straws for me with this budget proposal was when he started talking about selling off museums. When you start to talk about this — or even take it seriously — you’re really feeding into this colony [sic] mindset. And you see the embedded conflicts of interest where on the one side you see oil payoffs, and on the left side, society.^[12]

Though the advocacy efforts of Alaskans has made it clear to the Dunleavy administration that selling the Sheldon Jackson Museum will not and cannot be an easy fix, the museum still faces an uneasy future. However, perhaps not as unstable as Gov. Dunleavy’s administration itself. As of September 5, 2019, over 49,000 signatures have been collected in support of recalling the governor, well over the required amount required to file the application.^[13]  As Alaskans continue to face uncertain times, many now stand united in support of protecting Alaska’s cultural heritage.

 

 

 

 

^[1] Matthew Shuckerow, Press Secretary to Governor Dunleavy, clarified that the budget “does not call for the sale of the museum or its assets. However, in light of a $1.6 billion deficit, it does call for the removal of state funding for museum operations beginning July 1, 2019.” Either way, the operation of the museum has been put at risk. From Enrique Pérez de la Rosa, “Sheldon Jackson Museum Supporters, Staff in Dark over Possible Sale of Collection.” KCAW Radio, April 15, 2019. https://www.kcaw.org/2019/04/11/sheldon-jackson-museum-supporters-staff-in-dark-over-possible-sale-of-collection/.

^[2] Robyn Sundlee, “Alaska’s Universal Basic Income Problem,” Vox, 5 Sept. 2019, www.vox.com/future-perfect/2019/9/5/20849020/alaska-permanent-fund-universal-basic-income.

^[3] United States, House Finance Subcommittee for Department of Education & Early Development (DEED). “Budget Overview: Alaska State Libraries, Archives and Museums,” 2019, pp. 14.

^[4] Museums Alaska Board of Directors, “Letter in Support of the Sheldon Jackson Museum,” Received by Governor Michael Dunleavy, 19 Mar. 2019, Juneau, Alaska. Accessed October 14, 2019. https://museumsalaska.org/resources/Documents/2019%20MA%20letter%20of%20support%20Sheldon%20Jackson%20Museum.pdf

^[5] Enrique Pérez de la Rosa, “State Plans to Sell Sheldon Jackson Museum in Cost-Cutting Efforts,” KCAW Radio, 14 Mar. 2019, www.kcaw.org/2019/03/12/state-looks-to-sell-sheldon-jackson-museum-in-cost-cutting-efforts/.

^[6] Friends of Sheldon Jackson, “State Proposes to SELL Sheldon Jackson Museum and Collection.” Friends of Sheldon Jackson. 29 Mar. 2019, friendsofsjm.com/2019/03/14/state-proposes-to-sell-sheldon-jackson-museum-and-collection/.

^[7] Ibid.

^[8] Museums Alaska, “Advocacy Alert: Sheldon Jackson Museum.” Museums Alaska, 14 Mar. 2019, museumsalaska.org/news/7219967.

^[9] The letter in its entirety is worth reading. From Museums Alaska Board of Directors, “Letter in Support of the Sheldon Jackson Museum,” https://museumsalaska.org/resources/Documents/2019%20MA%20letter%20of%20support%20Sheldon%20Jackson%20Museum.pdf.

^[10] Katherine Rose, “Legislators Prep for Finance Town Hall in Sitka,” KCAW Radio, 26 Mar. 2019, www.kcaw.org/2019/03/22/legislators-prep-for-finance-town-hall-in-sitka/.

^[11] Rosemary Carlton, “A Passionate Opponent of Closing the Doors on Alaska’s History,” KCAW Radio, 23 Mar. 2019, www.kcaw.org/2019/03/22/a-passionate-opponent-of-closing-the-doors-on-alaskas-history/.

^[12] Olsen’s use of the word “colony” is likely a reference to Alaska’s long history of colonization.

From Robert Woolsey, “‘We Can’t Do This’: Sitkans Oppose Gov. Dunleavy’s Budget Plans,” KCAW Radio, 29 Mar. 2019, www.kcaw.org/2019/03/26/we-cant-do-this-sitkans-oppose-gov-dunleavys-budget-plans/.

^[13] Alex DeMarban and James Brooks, Recall Dunleavy Campaign Turns in 49,000 Signatures Collected in 5 Weeks, Anchorage Daily News, September 6, 2019, https://www.adn.com/politics/2019/09/05/recall-dunleavy-campaign-turns-in-48000-signatures-collected-in-five-weeks/.

by Lindsay Olsen

When you’ve already been a cyclist, a bartender, and a graphic designer, where do you find your next challenge? For Douglas Perkins, it was at his alma mater, Middlebury College, an historic liberals arts school nestled in the scenic hills of west-central Vermont. “As tends to happen in small-town communities,” he says, the opportunity to serve as coordinator for the campus art museum came unexpectedly, when a friend asked him to fill in during her maternity leave. Perkins stuck around, and eventually the role expanded until he was involved in most aspects of the museum’s day-to-day functions as Associate Director of Operations and Finance.

Having graduated in 1994 with a B.A. in Economics, overseeing the contracts, salaries, budgets, endowments, and acquisitions of an institution didn’t seem like much of a stretch. However, it was Perkins’s personal passion for brand management and advertising that led to his taking responsibility for the museum’s outreach efforts. Over the years, he noticed that the museum had fallen slightly on the list of the college’s priorities – somewhat understandably, he concedes, as running an active collecting museum is expensive when factoring in the costs of acquisitions, insurance, security, climate control…not to mention staff. As a result, Perkins would have to work extra hard to justify their continuing fight for resources.

To do this, he would need to bolster the museum’s connection with its core audience: the students. Despite the promise of the booming social media landscape circa 2010, Perkins found that his attempt to single-handedly build a digital presence wasn’t working as well as he had hoped without the time and staff resources necessary to carefully plan an online marketing strategy. So he hired three student workers to oversee peer outreach and event coordination, which included the development of a Thursday evening activities series called “Nights at the Museum,” designed to extend their hours and get more people into the building. With the elimination of the $15 student membership fee, all 2,600 Middlebury students became automatic members of the museum who receive museum outreach communications.

For the 250-300 art-lovers who pay dues to be involved in museum events (known as Friends of the Museum), Perkins felt it was important to uphold a unique and rather special tradition. Each November, Friends are invited to a purchase party, where they get the chance to view the art and vote on which pieces their annual contributions will buy. “But,” as Perkins reminds me, “the museum is a teaching collection, first and foremost. We never buy anything or accept any gifts unless we can say ‘this is something with which we’ll teach.’” As if to reinforce this, students in the arts disciplines have begun making presentations on the potential purchases. Some go on to serve as paid Museum Ambassadors, or docents, who work closely with local schoolteachers to provide material that is relevant to their curriculum. The immediacy of the process has forged a definite bond between the school and community, which Perkins hopes will continue. The area is rural, but the college “plays a significant part in the cultural goings-on of the region.” With the programs that have been developed over Perkins’s eighteen-year tenure, it seems unlikely that residents or college administrators will forget they are there.

For a listing of upcoming Nights at the Museum and an archive of past events, click here.