Applied History

Here is my interview with Mary Cory, curator of the El Dorado County Historical Museum in Placerville, CA, and she is the secretary of the El Dorado County Historical Society.  I chose to interview her because I worked for the museum last summer. Her interview provided insight on working in a small town museum and the difficulties and opportunities that come with it.

What sort of education did you get in order to hold your current position at the museum?

 After college, I eventually got a job working as a paid guide at a historic house museum, and decided that I wanted to make museum work my career.  So, I got a masters degree in Museums Studies from The George Washington University in 1989.

 

How did you come to working at the current museum? What about that museum attracted you and made you want to work there?

After working in historic house museums, I was interested in working in a more general history museum.  This position was advertised nationally in a Museum publication (put out by the AAM) and so applied.

 

What projects are you currently working on?

The El Dorado County Historical Railroad Park, of which the El Dorado Western Railroad is a part of.   

Improving the condition of the artifact collection through inventories, re-housing, improving storage conditions, and most recently, the disposition (and deaccessioning) of objects found to be outside the museum’s mission or in poor condition.

 

In class we’ve been discussing how museums repatriate objects to those they belong to. Has your museum encountered this and if so how often? 

The museum had a human skull that was repatriated to a local Native American group in 1993, before I was here.  So far, no other objects have been identified to be repatriated. 

 

What do you want people to get out of the museum? What is it you want them to leave with?

More of an appreciation and interest in some, any or all aspects of El Dorado County’s history

 

In a digital society, how has technology affected the museum? What are the positive and negative aspects of it? Also, how have you incorporated that technology into the museum? 

The Museum has a large collection of historical photographs.  Starting in about 2003, equipment was purchased through a grant to digitize the entire collection of photographs, and to create a catalog.  This was completed in a couple of years, and now all new photographs are scanned and added to the database.

Certainly, keeping complex information in a digital format, such as in a database or a spreadsheet has helped make the information more accessible.  An example is a spreadsheet of all the burial permits issued in El Dorado County.  Genealogists are looking for that information, and the spreadsheet makes it much easier to find.  

However, we continue to use and add to our extensive (low tech) Master Index Card Catalog.  This was started by volunteers in the mid-1970s and has yet to be digitized.  So far, it continues to serve its purpose.

Because I am dependent on volunteers for all of these projects, I do not always have a guarantee that the volunteers, usually older and not very computer literate, will be able to use or contribute to these digitizing projects.  As a result, I’m careful about committing time, money, and energy to a project that may not get completed if it requires a high level of technical know-how.

 

What aspects of the museum would you like to change in the near future? What are some of the obstacles preventing you from doing that?

More covered or enclosed space  – space to exhibit and store artifacts, space to store archives and create a public reading room (currently our public space is in the middle of the storage space), and covered space for the outside artifacts, more enclosed space for the El Dorado Western Railroad program for storage, restoration and maintenance.  I guess the main obstacles for creating all of this space is the money to build it, and the personnel to plan it. 

 

What kinds of skills are applicants expected to have for an entry-level position as a curator?

 I focused my master degree classes on Collections Management.  I wish I had taken more classes on planning and installing exhibits.  The degree helped me get an entry level job as the manager of a house museum, and after a few years, I was promoted to Curator of Collections.

 

Do you get many donations from visitors and from the community? 

All new acquisitions have come to the Museum as donations.  We get, on average, one or two offers of artifacts a week.  We probably, on average, accept about half of what we are offered.  Money donations come in as a $2 request at the door.  Most people seem very willing to give that.

 

How has the city of Placerville helped draw attention to the museum, if it has at all?

I can’t think of anything the City has done.  The County Chamber of Commerce (located in Placerville) distributes our brochure, has a link on their website, and will include a blurb about the County Museum in their annual visitors guide. 

 

What project did you enjoy working on the most?

Recently, I worked with another volunteer on researching and installing two historical quilt exhibits at the County Museum with quilts from the Museum’s collection that have been in storage for many years.  We found one crazy quilt with a ribbon sewed into it that commemorated the coming of the railroad to Placerville in 1888. 

 

What advice do you have for those interested in the field?

Jobs are so hard to come by.  Volunteer in the type of museum or historical agency that you would like to work for.  Also, volunteering in a larger organization that has some turn over in positions may put you in a better position to get a job there.

 

What are some of the challenges of your job?

As the only paid person, I’m dependent on volunteers to get the jobs done that I determine are priorities.  However, volunteers come to the museum with a certain set of skills and usually an idea of what they want to do….which may not fit my priorities.  So – staying flexible has been very important in order to take advantage of the people that do volunteer and are reliable and dedicated.

 

Would you say the museum operates from a business perspective or no?

Since this is a County supported museum, I don’t need to make enough money to fully support the operation.  However, in the past few years, the county budget has been slashed, so now the county covers my salary and basic building support and pays for the utilities.   Our non-profit support organizations have stepped up and funded the Museum’s expenditures above and beyond the county’s support.  The Museum’s Book Store and photo sales, along with the train ride donations, keep these programs, like the El Dorado Western Railroad going. We are trying to operate this in a more business-like manner.

 

How is the museum funded?

County General Fund, grants, and through the fund raising efforts of the El Dorado Western Railway Foundation and the El Dorado Museums Foundation, the County Museum’s two non-profit support organizations.

 

Before curator, what other experience did you have with museums?

Guide, Visitor Services Administrator, William Paca House Manager, Curator of Collections for Historical Annapolis Foundation.  My position here is “Museum Administrator” which is equivelent to Director, and includes Curator, Museum Education, Registrar, Volunteer Coordinator, etc.

 

What are the positive and negative aspects to working in a small town museum?

Positives are having an opportunity to get familiar with all aspects of museum work.  Negative is not having other professional support at hand.

 

Do you feel the museum is appreciated enough by the public? If not, why do you think that is?

Yes – we can always use more appreciation, but what has always impressed me is the interest and pride I see in the public that does visit.  What we could use is more publicity in order to increase the museum’s visitation. 

 

How has the museum improved since you first started out there?

One important improvement is I wrote and implemented the museum’s first Collections Management Policy.  That greatly improved the process for accepting artifacts.  It has allowed us to refine the museum’s collection so it reflects the mission of the museum.  

 

Why do you think it’s so important to bring history to the public?

Having an appreciation of local history helps a community have pride in itself, and museums are a focus for that history, and can have a very positive effect on what is now called “quality of life.”   That’s a somewhat pat answer to what is very hard question to articulate.  The connection that we feel to “history” whether it’s our own or someone else’s, provides an important foundation to understanding the world around us….

 

What is one of the biggest challenges when setting up a new exhibit? Are you worried about how visitors will interpret it? What goes into the process of creating an exhibit?

For me, the biggest challenge is having enough dedicated time to work on it!  It’s what I enjoy, and I always want to spend more time researching.  My exhibits tend to start with an idea that is inspired by the artifacts, then doing the research, then selecting and arranging the artifacts and then creating the labels and graphics. 

As far as how visitors interpret it, I’m usually looking for something that will trigger their interest and try to convey what makes it interesting to me. 

 

Is there any other museum you would like to work for and why?

Sometimes I think it would be fun to work for a large museum with many departments and specialties, in order to have a chance to really focus on a particular skill or specialty of knowledge (like being the curator of a particular department at the Smithsonian’s Museum of American History.)

Another “what if” is working in an art museum with a collection of European Masters.  My undergraduate degree is in Art History, and if my first paying museum job out of college had been as a guide in an art museum….

 

 

 

 

 

 

When people think of historians they picture someone working in a museum or a classroom or an archive.  Not many think of the Grand Canyon, Little Big Horn, or Gettysburg.  The National Park Service, knowing that much of history has occurred outside, has a huge number of historians working to educate the public about the events that have often shaped the country.  Those who are lucky enough and tough enough to work as park rangers interpret the past for all visitors who come to a national historic site.  For those working in the Park Service, history is not enclosed within a building, rather it resides wherever man has managed to interact with nature.

Park rangers are not just the people who wear funny uniforms and tell you how to get around Yellowstone.  They are historical interpreters who bring to life significant sites.     For those who love history and education but have no interest in working a typical 9-5 job behind a desk, the Park Service is the perfect answer.

Rangers come into the job in many different ways.  Some enter knowing that this is what they want to do and some, like Mike West, fall into it by accident.  Mike, a 32 year veteran in park management, earned a degree in human resources with a minor in film studies.  After his job evaporated Mike found himself looking for temporary employment.  He wanted something that he could do in the short term to earn money while he attempted to find another professional position.  The National Park Service was hiring for the summer season and Mike accepted what he thought was a six month job and saw it as an opportunity for further training in his chosen profession.  He discovered a passion for the work and when he was offered a full time position, accepted it and never looked back.

Mike said that the Park Service is highly competitive but that there are still opportunities if someone is dedicated.  Field rangers are generally hired as temporary, seasonal employees and seldom stay in one location for very long.  The frequent transfers were a part of the fun for Mike in the beginning.  He said that making the yearly move from park to park can be draining and many rangers give up the life after a few years.  “Knowing that you can fit everything you own in a car can suck”, but for those who stick it out, the opportunity for full time employment does eventually occur.  He recommended that anyone interested in being a field ranger get training in multi media or films.  Mike found that his education in those areas has served him well as he is responsible for creating documentaries and interactive media shows for visitors.

Rangers have the monumental task of keeping tabs on all the people that visit the national parks across the nation.  Because of the uncontrollable nature of the parks and their visitors, there is not a typical day.  Mike said that rangers have to be prepared for anything.  One of his most memorable visitors was a man who argued with him regarding the use of a metal detector at Little Big Horn.  Guess who won that argument.

According to Mike the most difficult part of the job is the overly needy people who want their hands held and who take no responsibility for creating their own dream vacation.  Rangers love to teach, but they don’t like to parent.  Ironically, people are also the best part of the job, according to Mike.  He loves interacting with those who come with a passion for learning about the site and an interest in the environment.

Mike stated that his path was not a typical one and did not recommend it for others.  “I got lucky,” he said.  “I thought I wanted to work in human resources.  Looking back the best thing that ever happened to me was getting laid off.”  Mike has turned down several promotions in order to continue being hands on.  A field ranger is not an administrator and had no paperwork, a job bonus as far as Mike is concerned.  Administration is not for him.  He likes to be in the field, teaching people about the history of sites like Little Big Horn and the Grand Canyon.

Mike laughed when I asked him what advice he has for people who want to work as historical interpreters for the Park Service.  “Bring a lot of patience and humor.  Being a ranger means having a plan for the day but knowing that your plan is subject to sudden and drastic changes.”  He laughed again then added, “For example, I didn’t expect to spend an hour talking to a history student today, but this kind of stuff is the best part of my day.”

Mike also said that interpretative field rangers have a lot of leeway in how they impart information regarding the history of the parks.  “Some monuments have a pretty bloody history and you learn to tone some of that down when you have a group of kids.  You get pretty good at reading a crowd and tailoring your talk to the group.”

Mike said the single most important factor in working with the park service is enjoying people.  “So much of our job is about interacting with the public.  Liking the outdoors is another vital part of the job.  People get excited when you’re excited.  If you dislike hiking and going out in all kinds of nasty weather then this is probably not the job for you.”

According to Mike working for the park service means that you are an educator, conservationist, nature expert, camp counselor, and guide.  He ended with this thought.  “No matter what else happens during the day, I get to watch the sun set over the Grand Canyon.  How can you not love that?”

The person that I was privileged to interview was David J. Skal.  He is an esteemed lecturer, archivist, film historian and documentary maker.  He did commentaries/documentaries for the release of the Universal Monsters series, (i.e. Dracula, Frankenstein, etc.) on DVD and on the new series of Blue Ray disks that were released last year.  He is very active in writing about how the monster movies were made in the 1930’s and 1940’s.  He was very gracious to do this interview for the class.

• What path did you take to get to your current position?

I came to my present career after 20 years employment in the non-profit performing arts world (theatre, dance, and music) where I specialized in public relations, fund-raising and marketing. I began writing books and documentary scripts in the 1990s, when there was a major recession that made it impossible to work in the nonprofit sector any longer

• What kinds of projects do you work on?

I write books, essays and articles, occasionally produce, write and direct video documentaries, and guest-lecture at colleges, universities, and cultural organizations.

• With what kind of people (demographics, occupations, etc.) do you typically work?

Mr. Skal did not address this question.

• Do you have autonomy to pick your own projects, or are projects generally assigned to you by others in your organization or elsewhere?

I work by myself and choose/propose my own projects (which, of course, are approved and contracted by my publishers. Occasionally a publisher will approach me on a work-for-hire basis for a project it has developed in-house.

• What are the current issues in your field?

Current issues in my field are dominated by the massive consolidation of publishers and the proliferation of e-books, which has had a negative effect on the earnings of many freelancers like myself.

• What skills are expected of applicants for an entry-level position?

The only entry-level requirement for a freelance writer is to produce a manuscript a publisher deems publishable.

• What is the current starting salary for entry-level positions in your field?

I’m not a salaried employee, and there is no guaranteed minimum compensation outside the advance offered by each publishing contract. Lecture fees are also widely variable.

• How is your position funded? Is this typical for positions in your field or organization?

Publishers offer advances based on their own calculation of potential sales and this can vary widely from project to project. Lecture fees are usually paid from an educational institution’s special fund for this type of activity.

• What level of education is necessary for advancement to the different levels of this profession (e.g. entry-level, mid-level, and senior positions)? Are there specific degrees that are favored, and if so, what are they?

There are no educational requirements for my type of work, only the ability to produce work by which a publisher can make a profit. I have a bachelor’s degree with a split concentration in English, theatre, and journalism.

• What advice do you have for people interested in entering this field?

My advice to people seeking a similar career is to always have a back-up source of income. In other words: never quit your day job until you are very well-established professionally.

Again, I would like to thank Mr. Skal for taking the time to answer these questions.