When I was studying history as an undergraduate student, I was particularly fascinated by discussions about historiography. Perhaps it was the influence of my English Lit background, but I tended to do close readings of historical accounts, approaching them almost as literary texts that reflected much about the assumptions and attitudes, biases and values of the writer. It was therefore interesting to be asked in certain history classes to analyse the works of historians not primarily for what they revealed about the past, but for what insights they provided about the particular way of doing history that was “in vogue” at the time.

Over the course of this year, I’ve seen how the idea of the present’s imposition on the past is as applicable to public history as it is to traditional, scholarly history. History in the public realm is certainly as much (or perhaps even more) about the present — that is, the “present” of whoever is, or was, writing the history, composing the plaque text, or curating the exhibit, for instance — as it is about the past.

Museums, for example, as Helen Knibb’s article, “ ‘Present but not Visible’: Searching for Women’s History in Museum Collections,” suggests, do not necessarily present information, in the context of women’s history, about the actual lives and experiences of women from a particular time period. Instead, the artifacts may reveal more about the preoccupations and personal tastes of curators, or about the collecting or donating impulses of those whose items are on display. With regards to the latter, Knibb suggests that women may have simply donated items they thought were important from the standpoint of the museum or of society, rather than in relation to their own experiences. She raises the interesting question of whether “museum collections tell us more about how women collect than how they lived their lives.” [1] Knibb’s article reminds me that museums themselves are constructed sites that are very much influenced by contemporary concerns.

The idea that public history is as much about the time period of the people presenting the history as it is about the history being presented is, I’m sure, hardly startling. But it does remind me of the need which underlies the rationale for these blogs – the need for self-reflexivity. As history students, my peers and I have been trained to read historical accounts critically, with an eye open to its constructed nature, to the ways in which the account reflects the biases of the historian and the preoccupations of his or her time. As public history practitioners, we will have to direct that critical gaze inwards, to assess how our own assumptions and biases are shaping the histories we will help to produce. Moreover, we will also have to negotiate our way through the assumptions and biases of others, who, in the collaborative realm of public history, will also have a stake – sometimes a very substantial one – in the history-making process. Given how contentious history in the public realm can be, not only the need for critical self-reflection but also the ability to practice what Rebecca Conard has called the “art of mediation” [2] are crucial requirements for the practicing public historian.


[1] Helen Knibb, “‘Present But Not Visible’: Searching For Women’s History in Museum Collections,” Gender & History 6 (1994): 355, 361-362. The quote is from page 362.

[2] Rebecca Conard, “Facepaint History in the Season of Introspection,” The Public Historian 25, no. 4 (2003): 16. JSTOR, http://www.jstor.org/.