Federal Funding Impact Story #9

Project: Collections and Facility Assessment and Planning

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“The Price We Paid: An Anthology of the Desegregation of Mississippi State College for Women” was created in 2016 as part of the Those Who Dared event series commemorating the 50th anniversary of desegregation. This project is the product of a significant collaboration between the MUW Archives and the History, Political Science, and Geography Department at MUW.

Granting Agency: Institute of Museum and Library Services (IMLS)
Grant Program: Collections Assessment for Preservation Program
Institution: Mississippi University for Women
State: Mississippi
Congressional District: 1st Mississippi Congressional District
Grant Period: April 2013-March 2014
Award Amount: $7,190

Project Description
The Conservation Assessment Program funds a collections conservator and a facility conservator to visit a repository or 2-3 days, identify problem areas, and develop an action plan for the institution.

What was the need for the grant?
The archives had been dormant for several decades before hiring an archivist in 2012. It was in very poor shape, with extensive water and mold damage to the records, poor facility conditions (it was left in a vacant building with no climate or pest control), and little access for potential researchers. We were hoping to bring in some professionals to give us a sense of where to start and what to prioritize in bringing the archives back online.

What has been the primary impact of this project?
This project ultimately allowed us to preserve and provide access to our collections on the first publicly-funded women’s college in the United States. Subsequent research by students in our collections has revealed insights into subjects like racial integration at southern institutions, and early women’s education in the United States, which has led to public programming and discussion in the community.

The grant allowed us to bring two conservators to campus for several days. The priorities they developed with us served as a road map to saving the materials in the archives, which is now in a better facility, with better conditions, and is used by students every semester for class research projects.

Submission by: Derek Webb, Special Collections Librarian/University Archivist, Mississippi University for Women
Image credit to Mississippi University for Women.

Escape the Room… With Archives!

Solve the puzzles and celebrate your victory! Stay locked in and seethe (you were this close)!

If you’ve ever tried your luck at an escape room, you know the thrill of working to make sense of clues that will let you unlock the door and make your escape. But the one thing that might have made your escape experience even better? Archives! What if you could bring this special thrill to your archives’ patrons,  while introducing them to your collections and resources?  How would you go about it?

Laura Weakly

Laura Weakly, Metadata and Encoding Specialist at the Center for Digital Research in the Humanities, University of Nebraska-Lincoln, combined archives and escape rooms by organizing an event for students in Fall 2017 using clues rooted in Nebraska history. In the following interview with COPA member Caryn Radick, Digital Archivist at Rutgers University Libraries, Weakly discusses how the event was organized and offers tips for would-be room designers.

CR: Why did you decide to do an escape room?

LW: The escape room was part of a campus wide welcome event for new and returning students at the University of Nebraska-Lincoln for Fall semester 2017. The room was located in C. Y. Thompson Library on UNL’s East Campus. The idea was to draw students into the library and familiarize them with library resources in a fun way. The escape room was the brainchild of librarians Jennifer Thoegersen and Erica DeFrain. In 2015, Jenny and her husband Rasmus Thoegersen, who was then director of libraries in Nebraska City, had created an escape room as a children’s event at the Morton-James Public Library.

CR: Who was involved and how did it work?

LW: Besides Erica and Jenny, the project team consisted of 10 employees of the UNL Libraries who created games and set up the room. The team split into groups to create a storyline, come up with the puzzles, develop graphics, and devise the rules for gameplay. Thirteen others tested the room once it was set up to ensure that the puzzles were set up properly, explained well, and solvable. After testing, some of the games were modified to make them easier and to give more detailed instructions before the students began playing. The game consisted of three puzzles which had to be solved in the allotted 20 minute time period. The answers to the puzzles led to a code that then needed to be entered into a “Time Machine” — a skinned Raspberry Pi computer.

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CR: How did you choose which stories you wanted to feature?

Newspaper column featuring cattle brands

LW: The storyline we created was a time machine that would take the players back in the history of the campus to events that did or could have occurred on the campus. Players would then need to use library resources strategically placed in the room to help them solve the puzzles and return to the present time. UNL’s East Campus is home to the International Quilt Study Center and so one puzzle focused on using print resources to solve a quilt-based riddle. Another puzzle centered on the Larsen Tractor Test Museum and photographs of historic tractors found in our Image and Multimedia Collections. The puzzle that my group created was focused on historic Nebraska newspapers digitized as part of the National Digital Newspaper Program and found on Chronicling America and Nebraska Newspapers. I remembered from when we were performing collation that one of the papers, the Valentine Democrat, featured pages and pages of cattle brands. Our puzzle then centered on a supposed  escape of cattle on East Campus, which is home to the College of Agricultural Sciences and Natural Resources. We planted some “Fake News” about the escape in an edition of our campus newspaper The Daily Nebraskan. Players then had to read the story,  find the relevant brands in the Valentine Democrat, and then find the brands on tiny plastic toy cows. The toy cows had the brand on one side and a number on the other. The numbers were the answer to the puzzle.

Toy cows help solve the puzzle

CR: What was the response (how many students and what were their reactions)? Also, what was the fastest time the mystery was solved in?

LW: Ten teams of 3-6 students played the room. Six teams successfully escaped. The fastest time, recorded by the only team with just 3 players, escaped in the time of 11:33. Even the teams that didn’t escape said that is was really fun and that they enjoyed playing it.

CR:  What advice would you give to others thinking about setting up an escape room? Will you do another one?

LW: Having a good storyline and creating puzzles that go along with the story make a really great escape room. Testing and leaving enough time between groups to reset the room are also important. But mostly the room was about giving students an opportunity to go to the library just to have fun. We have already been talking about another escape room or rooms for the upcoming academic year, including possibly one in our new Learning Commons.

Sound and Vision: And We’re Live in 5…4…3…2…1

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This post was authored by COPA Chair Chris Burns, Manuscripts Curator and University Archivist at the University of Vermont.

This is the second in a series of posts about the use of video as an archival awareness tool. Feel free to contact the editors of this blog at archivesaware@archivists.org if you have a video or topic you would like to see covered, or if you would like to contribute to this series.

In 2016, we kicked off a new series designed to focus on the use of video in archival awareness and outreach efforts. The inaugural post, Sound and Vision: Using Video to Tell the Tales of Archives and Archivists, featured a handful of videos that had been produced by repositories and some general best practice tips. To be perfectly honest, there were not a lot of examples to choose from at that point in time. The use of video by archives was simply not widespread.

However, the use of video has grown significantly since then, driven in large part by livestreaming services, particularly Facebook Live. This type of video production has a lower barrier of entry, ties in easily to existing social media channels, and consequently is becoming an important outreach tool for archives and special collections. Facebook has made a concerted effort to promote and support Facebook Live, so while there are other tools for live streaming content to your audience, Facebook Live has become the major player, in no small part because of the large potential audience that already exists on Facebook.

What is Facebook Live?

Jennifer Koerber, writing in Library Journal, gives a good overview of Facebook Live and its use in libraries. At its most basic, Koerber notes, it is “video streamed over Facebook and archived there afterwards.” Facebook Live events are live videos as opposed to an edited video. They tend to be improvised, and are often filmed on devices as simple as a phone or tablet. The technical barriers for producing and distributing this type of content are quite low, but as with a more traditional edited video, quality can vary significantly. Paying attention to sound quality and lighting, as well as using a tripod and the best available camera and microphone setup can greatly improve the quality of your video and the experience for your audience. Koerber cites two helpful articles with tips for recording video on smartphones.

Facebook Live events are just that, live events, and need to be promoted to ensure you have an audience. Promotion should target your Facebook audience, but not exclusively. Promoting these events through other channels (blog, email, Instagram, etc.) not only draws people to the event, but also lets them know you have a Facebook account that they might want to follow. Because the events take place on a social media platform, they also have the potential to be interactive. People watching can share their enthusiasm by liking, commenting, and sharing the video. The live component allows you to interact with an online audience in interesting ways, such as soliciting questions from online viewers during the stream. Koerber notes how having a staff member monitor the comments during the livestream allows that individual to respond in real-time and add additional information like links to catalog records or digitized versions of the objects being discussed.

How are Special Collections and Archives using Facebook Live?

One way to use this medium is to provide an introduction to your holdings. The video below, from the National Agriculture Library, features an introduction to their seed catalogs (my favorite is the manuscript catalog from the 1830’s featured about 10 minutes in). The 37 minute video features staff members taking turns discussing items in their collection and has been viewed over 4,500 times in the 2 months since it was posted.

Another way institutions have been using Facebook Live to share their collections is by connecting them to another event, either at their institution or externally. In October 2016, the Dibner Library at the Smithsonian used a Facebook Live event featuring their anatomy books to tie into Halloween and Page Frights. The comments section shows how Dibner staff interacted with viewers throughout the video, taking full advantage of the live aspect of the event.

 

The Houghton Library at Harvard University held a Facebook Live event in March 2017 in celebration of their 75th anniversary. During the 48 minute live stream, two Houghton staff members gave a tour of the library, showed off items from the collection, and took questions from viewers. A key aspect of this livestream is that it took place on the main Harvard University account, which allowed the Houghton to reach a much larger potential audience. As a result, the video has been viewed over 67,000 times, and has had 1,900 reactions, 239 shares, and 415 comments. Not all archives will have access to an audience as large as the Harvard community, but it is a good reminder of how partnering with a larger social media account can really boost the signal of your outreach efforts.

The University of Chicago Special Collections Research Center has taken the approach of inviting researchers to talk about items from their collections. In the video below, Dr. Mindy Schwartz talks about an 1887 surgical kit that she uses to teach medical students about the history of medicine. This approach shows viewers not only the cool stuff in the archives, but also how a researcher or instructor uses them.

In a similar way, the US National Archives held a Facebook Live that featured Janet Macreery talking about how she used a range of archival sources to write her novel, A Little Wicked. Archives and special collections libraries have held events like this for many years, but livestreaming them allows institutions to reach beyond audiences who are willing and able to attend these events in person.

 

The Getty Research Institute held a Facebook Live event in March 2017 to talk about how they put together an online exhibition, The Legacy of Ancient Palmyra. The live stream shows some of the material used in the exhibit, but is also a fascinating, behind-the-scenes look at how they put this exhibit together.

An example of an institution doing exciting things with video, on Facebook Live and elsewhere, is the University of Iowa Special Collections. Led by Outreach and Engagement Librarian Colleen Theisen, their video work is aimed at engaging with as broad a community as possible. An excellent overview of their efforts can be found in this article by Scott Smith on the Big Ten Network website. You can view their videos, including their archived live streams, on their YouTube site.

In addition to the live streams they have conducted, such as their annual livestream on Shakespeare’s birthday, their YouTube channel features a few ongoing video series they have created that are both fun and informative. Their Staxpeditions series usually focuses on exploring Library of Congress call numbers, but my favorite installment is Staxpedititions 6: Exploring Mystery Boxes : Manuscripts Edition!

The work being done in the examples above is just the tip of the iceberg in terms of what archives and special collections libraries are doing or could be doing with video. If you are doing interesting work in this area and want to be featured in this series, don’t hesitate to contact us at at archivesaware@archivists.org.

Federal Funding Impact Story #8

Project: The Cybernetics Thought Collective: A History of Science and Technology Portal Project

Granting Agency: National Endowment for the Humanities (NEH)
Grant Program:  Humanities Collections and Reference Resources
Institutions: University of Illinois Archives, British Library, American Philosophical Society, and MIT Institute Archives and Special Collections
State: Illinois
Congressional District: 13th Illinois Congressional District
Grant Period: May 2017-2018
Award Amount: $49, 973
Institutional Match Amount: $34,976

Jobs Created:
– 1 PTE 20 hr/week position for 6 months
– 1 PTE for 20 hr/week position for 10 months.

Project Description
University of Illinois Archives, British Library, American Philosophical Society, and MIT Institute Archives & Special Collections have been awarded a grant from the NEH to develop a prototype web-portal and analysis-engine to provide access to archival material related to the development of the iconic, multi-disciplinary field of cybernetics. The grant is part of the NEH’s Humanities Collections and Reference Resources Foundations program.

“The Cybernetics Thought Collective: A History of Science and Technology Portal Project,” is a collaborative effort among four institutions that maintain archival records vital to the exploration of cybernetic history. In addition to supporting the development of a web-portal and analysis-engine, the award will enable the multi-institutional team to begin digitizing some of the archival records related to the pioneering work of U of I Electrical Engineering professors Heinz von Foerster and W. Ross Ashby, neurophysiologist Warren S. McCulloch, and mathematician Norbert Wiener.

What was the need for the grant?
The participating institutions sought federal grant funds in order to unite the personal archives of Heinz von Foerster, W. Ross Ashby, Warren S. McCulloch, and Norbert Wiener in a digital platform and thus create broader access for an international community of scholars studying the history and legacy of cybernetics.

Cybernetics, the science of communication and control systems, is generally regarded as one of the most influential scientific movements of the 20th century. At a time when postwar science had become highly compartmentalized, cybernetics epitomized the interdisciplinarity that has become emblematic of innovative research in the modern era. This project will provide greater access to the archival materials that document the rich and complex history of the “thought collective”—the scientific community of individuals exchanging thoughts and ideas about cybernetics.

What has been the primary impact of this project?
This project will draw greater visibility to the holdings of the four participating institutions. Cybernetics has influenced the development of a variety of disciplines, such as cognitive science, artificial intelligence, and computer science; being able to create broader access to archival materials that document this foundational multi-disciplinary movement will enable scholars to better study the evolution of these disciplines. At the University of Illinois at Urbana-Champaign in particular, the project has spurred local interest and related initiatives to investigate the ways in which the Midwest, and central Illinois in particular, have contributed to the modern technological era.

Nationally and internationally, the project enables the four institutions to form a partnership that unites related archival material that is geographically dispersed. We hope creating online access to these digitized materials will make them more accessible to scholars who aren’t able to travel to the repositories where these materials are held.

NEH funding for this project will enable the four institutions to digitize and create access to approximately 20 cubic feet of archival material initially. The project team will use the results from the prototype analysis-engine and prototype portal development to inform future work and hopefully a second phase of the project that includes other repositories with related archival material.

Submission by: Bethany Anderson, University of Illinois at Urbana-Champaign

Federal Funding Impact Story #6

Project: Michiana Memory Digitizing Local African American, Latinx, and LGBTQ Materials in St. Joseph County, Indiana

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Odie Mae Johnson, at graduation, 1931. Courtesy of Indiana University South Bend Archives.

Granting Agency: Institute of Museum and Library Services (IMLS)
Grant Program: LSTA Grants to States
State Library Administrator: Indiana State Library
Institutions: St. Joseph County Public LibraryIndiana University South Bend ArchivesIU South Bend Civil Rights Heritage Center
State: Indiana
Congressional District: 2nd Indiana Congressional District
Grant Period: 2014-2017
Award Amount: $28,880
Institutional Match Amount: $6,000

Jobs Created:
3 FTE for 36 months
9 PTE 20 hr/wk positions for 36 months.

Project Description
In January 2014, the St. Joseph County Public Library reached out to the IU South Bend Civil Rights Heritage Center and IU South Bend Archives to combine their collections related to African American and civil rights history. The combined archives launched within the Michiana Memory history website in February 2015. Since then, thousands of guests have accessed the materials. The renewal of the LSTA Indiana Memory Digitization Grant from the Institute of Museum and Library Services of the Indiana State Library in 2015 led to the inclusion of more materials than ever, including oral histories about African American and Latino history, and the first collection of LGBTQ history in the Michiana community. Guests can access the collections now by visiting http://michianamemory.sjcpl.org.

What was the need for the grant?
We saw the need to make digital content available to the public from St. Joseph County, Indiana. And specifically we wanted to make voices speak out from the primary sources from marginalized portions of our community: African Americans, Latinos, and LGBTQ communities. The Archives at Indiana University South Bend partnered with the St. Joseph County Public Library and the Civil Rights Heritage Center to make this happen.

What has been the primary impact of this project?
We have been monitoring use through Google Analytics – and seeing it in use in the thousands every month. The Archivist at IU South Bend has also been seeing many students’ bibliographies citing the site for primary source research. Further, many reference requests are spurred by people’s use of the site. The requests come in on the national – and sometimes international – level. Consistently – month by month – using Google Analytics – the Civil Rights and African American History section of Michiana Memory, funded by LSTA and IMLS, is in the 2,000 to 3,000 user area – the highest user area of all the sections on the local history site.

Submission by: Alison Stankrauff, Archivist and Associate Librarian, Indiana University South Bend
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Undergraduate Archival Internships: Opportunities for Professional Development -AND- Student Outreach

 

Gene Hyde headshotUntitled-1This post was authored by guest contributor Gene Hyde, Head of Special Collections, and Ashley McGhee, archival intern at University of North Carolina Asheville

The University of North Carolina Asheville is the designated public liberal arts campus in the UNC system, and as such we serve an overwhelmingly undergraduate population. In Special Collections we work closely with the UNCA History Department to offer a credit-bearing internship experience for undergraduates. An internship is the equivalent of a 3 credit hours History course, and interns are vetted by the History faculty in collaboration with Special Collections.

Our interns work 150 hours over a semester with a set schedule. Internships start with readings in archival theory, followed by hands-on arranging and describing of a collection, creating finding aids, and creating a display and/or blog post about their work, all accompanied by plenty of one-on-one mentoring. We have interns most semesters, and sometimes we’ve had two or three at time. Interns seem to enjoy the experience, and often express interest in careers in archives, librarianship, or public history. Indeed, part of the mentoring process often entails discussing these career options.

Last year Special Collections received an internal UNCA grant to purchase a significant local history collection and hire a student intern to process it, and we hired Ashley McGhee. Ashley had previously worked in Special Collections as an intern and had proven herself as gifted and hard-working, plus she is from Western North Carolina and has a strong interest in Appalachian history. As part of her internship responsibilities she was required to process the collection, join me in meeting with the donor and discussing the collection, and write a process paper describing her internship. Her process paper is below.

Gene Hyde, Head of Special Collections, UNC Asheville

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Ashley McGhee in the UNCA Special Collections Reading Room

The John Brown Land Speculation Collection Papers
A Process Paper by Ashley McGhee

          When I came to UNC Asheville to pursue a second degree in History I had no idea how the Library’s Special Collections would have an impact on my life.  I spent more time in the library than I did in class, and quickly made the acquaintance of both the Head of Special Collections, Gene Hyde, and the Archives Assistant, Colin Reeve.  After I worked a summer internship in Special Collections, Gene realized how at home I was among books and manuscripts and asked if I would be interested in working on an additional project.

A private donor who is an amateur historian of Western North Carolina (WNC) and the Great Smoky Mountains National Park had offered Special Collections papers from the Brown family, which were related to the Speculation Lands Collection already housed in UNCA’s Special Collections.  The Speculation Lands Collection documents land acquisition and ownership in Western North Carolina during the late 1790s -early 1800’s, when land speculators sought land for investments instead of settlement like most frontier residents, and it provides an intimate, and often unique, look at land business dealings during the 18th and 19th centuries.

The Brown family papers document land speculation efforts by John Brown and three generations of his relatives.  After securing the details regarding the collection, Gene and I traveled to the donor’s home to meet with him and his wife to discuss some of the finer points regarding the collection.  As noted, this private donor is a historian of Western North Carolina, and every nook and cranny of his personal library contained books, maps, and pictures, all housed in a warm wooden room full of soft lighting and squishy chairs, a bookworm’s dream come true.

The donor was willing to share what he had already learned about the Brown collection as well as provide extensive notes of his research. This was the beginning of background research for the collection, but it only scratched the surface.  Since the collection was related to the larger Speculation Lands Collection, the obvious research choice was to start with that collection and then work backwards.  After perusing it, and then books such as Sadie Smathers Patton’s Buncombe to Mecklenburg: Speculation Lands, along with the previously published “John Brown’s Journal of Travel in Western North Carolina in 1795”, I realized I was going to have to go back even further in my research.  Eventually, I ended up having to go all the way to the mid-1600’s with the first England Land Grants that were chartered for North Carolina, and then the original Eight Lords Proprietors.

When Special Collections received the papers, they were in a big box containing several manila folders with all the documents mixed together. The donor purchased the collection at an estate sale, and there was no evidence that any original order was intact by the time it was obtained by Special Collections. After examining the collection and conferring with Gene, we agreed that the logical way to organize the collection was to separate the documents by each speculator. Most all of the documents were from speculators within the Brown Family, but each man worked in different areas and in different time periods, so I wanted their documents categorized unto each of them so their work could tell their individual stories.

Before even getting to that though, I had to relax the documents, which involved placing the documents overnight into the bottom of a dry plastic container and then sitting that in a larger, deeper container which held a couple of inches of water in the bottom, thus reintroducing moisture and making the items more pliable and less fragile when handled. The materials were then laid flat between acid-free sheets of paper and weighted down to flatten out. Finally, to wrap up the project, I described the folders of material, wrote a detailed description and history of the collection, and created a finding aid.

Once the collection is made public on the UNC Asheville Special Collections website, it will be available for all to use.  Gene and I plan on stopping in to see our friend who donated the collection again, and enjoy his hospitality and talk Western North Carolina history and archives.

Sound and Vision: Using Video to Tell the Tales of Archives and Archivists

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This post was authored by ArchivesAWARE! editor Chris Burns, Manuscripts Curator and University Archivist at the University of Vermont.

This is the first in a series of posts about the use of video as an archival awareness tool. This initial post will feature videos which focus on what an archives is and what archivists do.  Future posts will look at promoting these videos, determining their impact, and will take a closer look at some of the other topics archives are using this format to cover. Feel free to contact the editors of this blog at archivesaware@archivists.org if you have a video or topic you would like to see covered, or if you would like to contribute to this series.

On August 26, 2015, Kathleen Roe premiered the Society of American Archivists’ Archives Change Lives video during her plenary talk at SAA’s annual meeting. As of this writing, the video has over 3,400 views on YouTube. The video clocks in at just under three minutes and features Kathleen Roe, Dennis Meissner, Steven Booth and Samantha Norling talking about the power of archives, cut with images from archives, of archivists at work, and of people interacting with archives. The core message of the video is articulated by Kathleen Roe, “What I hope that my colleagues and I will all be able to do together is to explain to people in clear, compelling language why we think archives matter, why what we do is valuable.”

The video was unveiled at the end of Roe’s year as President of SAA, a year where she led Year of Living Dangerously for Archives initiative, which challenged SAA’s membership to increase their advocacy for archives. One compelling way to get this message across, as Kathleen and SAA demonstrated, is through the use of video. A search of YouTube for videos relating to archives, archivists, and special collections turns up a number of attempts to do just that. These videos tackle a range of topics and vary in their approach, goals, budget, and production quality.

The National Archives UK has done a series of videos, compiled in an Explore Your Archive playlist, that tackle big questions as well as feature archivists talking about particular records.

One of the big questions they address is What is an Archive? The production elements are similar to the SAA video, it clocks in at just under 3 minutes, features a combination of talking heads and still images, and has music playing in the background throughout. Like the SAA video, the premise is simple and direct, it is a short video of archivists and archives users speaking passionately about the power and importance of archives. The three-minute length of these two videos is no accident, as it is often recommended as the maximum length for promotional videos. The video was published in October, 2013 and has been viewed over 4,100 times.

A video produced in 2014 by Duke University’s Rubenstein Library begins with a voice stating, “I think it’s a challenge and a curse to explain what an archive is to people, and it’s because it means so many different things to different people.” The video, The Guardians of History, digs a little deeper than the two mentioned above, taking a look at the work of seven archivists at Duke. This video is a little longer, coming in at just under 9 minutes, but again features interviews, still images of archives and archivists, and a musical backing track during part of the video. The interviewees speak candidly about the difficulty they have in explaining what they do to friends and family members, one speaker noting, “sometimes it’s not worth the effort to explain what an archivist is, so I’ll go ‘Oh, I’m a librarian.’” The video is an honest look at the work of archivists, giving voice to their passion for the work, and discussing some of the humorous and very human items in archival collections. The video is a good introduction to archival work. The budget is not on a Hollywood scale, but the quality of the sound, images, and editing are all very good. To date, the video has been viewed over 1,500 times.

At an Institutional level, BYU took a novel approach in 2011 when they made a fictional trailer for their L. Tom Perry Special Collections, parodying the trailers of blockbuster Hollywood adventure films. To date, the clip has been viewed over 13,000 times.

Two years later, they made a more conventional, and more informative, introductory video. This video has been viewed just under 800 times.

Of course, the number of views a video gets does not really tell us whether a video has successfully met its goals. Those goals could be for an institution to experiment with the process of producing a video, or to create a video that can be played in a classroom setting or sent to a patron in advance of a research visit. However, creating a high quality video that people want to watch and share should also not be understated. It is relatively easy to shoot footage, and increasingly easy to edit that footage, but creating a video where the sound quality is consistent, the edits are relatively seamless, and the content is compelling takes a certain level of skill and patience.

A number of videos get into the question of what an archivist does, which can be helpful in explaining our profession to people who might be interested in a career in archives as well as getting the word out more broadly.

A 2010 example of this type of video comes from the Freer Gallery of Art and Arthur M. Sackler Archives, A Day in the Life of an Archivist. The video features an archivist explaining their work over a musical backing track. As the comments indicate, from both viewers and the creator, this was an initial attempt by the Sackler Archives to work in this medium and there are some issues with sound levels. That said, the video has been viewed over 12,000 times, which demonstrates that this is a topic of interest, and is either well promoted or frequently found through internet searches.

By comparison, another video done at the same time, Freer Gallery of Art and Arthur M. Sackler Gallery Archives Introduction, has been viewed just under 1,900 times.

Some other videos that introduce viewers to archivists and their work are:

Meet Our Vintage Collection Archivist, Bill Bonner – National Geographic (over 45,000 views)

 A Day in the Life of a Processing Archivist, UALR Center for Arkansas History and Culture, 2014 (300+ views)

 Aaron Rubenstein, University and Digital Archivist, UMass Amherst Libraries, 2014 (around 150 views)

 Peter Hirtle’s Thoughts on Being an Archivist, Debra Schiff, Here and There Blog, 2011 (2,300+ views)

 Not all institutions are as well-known or have the same ability to promote content as the National Geographic, but there are a few key principles that we should keep in mind as we develop content in this area in order to ensure our videos successfully reach their intended audience.

  • Compelling content. As archivists, we know we do interesting work. Video is not and should not be the only way to tell our stories, but the passion we have for our work and the visual appeal of the materials we work with make video a great opportunity for archivists. Demonstrating that passion, telling fascinating stories from our work, exhibiting collection highlights, and using humor are effective ways we can pull in viewers.
  • Clearly defined goals. Why are you making the video? Who do you hope to reach with the video and how will you reach them? Is your video aimed at an internal audience or a much broader audience?
  • Production value matters. Experimentation and a Do-It-Yourself ethos are laudable, but we should also be striving for something that people want to watch and share. Poor production quality will compromise good content.
  • Promotion is key. Creating a well-produced video with a good story is only the beginning. Working with whatever outreach outlets are available and appropriate for your video is essential to achieving success.

The videos highlighted above show that there is an audience for stories about and from the archives. We can create a larger audience for this content by collectively developing more content. Some of it will necessarily be institution-specific, but there is also certainly a role for more videos produced by SAA and others that talk more generally about archives and archivists. Video is a powerful medium, and we as archivists should be taking advantage of it to promote our institutions and the archival profession.