Comandancia de La Plata - Less is More

In my museology class, we were asked to write about our most memorable or life changing museum experience. I chose to write about The Comandancia de La Plata, in Sierra Maestra, Cuba. The Comandancia de La Plata functioned as headquarters for Fidel Castro, Che Guevara and their guerrilla rebel army, while they planned and campaigned their fight against Batista. Visiting it today, the grounds are kept in their original, rustic style, with only one of the original cabins transformed into a small and equally rustic information centre.

The only way to access the museum is by foot or mule, and a park guide must direct you, as the hike is narrow and steep (not to mention full of wildlife such as snakes, lizards, birds, etc.). On your way up, you learn that Fidel and his comrades hiked a similar route to establish their hidden command centre. As you make your way through the dense vegetation, you pass look out points and thatched spy-huts, used by the rebel forces to guard the command centre. Once you reach the Comandancia de La Plata itself, you can enter Fidel’s cabin, which still houses his bed, beer fridge, desk and trap door (for a speedy escape). Also, the original broadcast hut for ‘Radio Rebelde’ still stands, as well as Che’s hut, the original stairs and trails, the kitchen and the medic hut.

Looking back on my experience now, with new ideas for digital and interactive museum elements, I believe that this is one museum experience that is better off without the new and experimental. It is raw and unrefined, and possesses a unique living history, that is essential to the atmosphere of the Comandancia de La Plata. Without computers, audio tours, televisions, Smartboards or audio-visual clips to alter the environment of the museum, you gain a greater understanding of how it was originally, when the rebels were developing tactics and strategies. With just the grounds, complemented by a collection of photographs, a large model and detailed oral histories, the experience certainly feels authentic and candid. For this site specifically, the motto, ‘less is more’ certainly reigns - the addition of digital elements would tarnish the overall appeal.

Photographs: 1) Our Guide showing us where we were on the model, 2) Fidel's hut with trap door and desk, 3) Fidel's hut (view from outside).

Surface Computing = Wicked.

Check out this video on Surface Computing by Microsoft!



I came across this a few weeks ago and really want to share it. I figure a lot of people know about this technology already, but I thought I would post it anyway!

I am not sure how this could be used in the field of Public History, but really, the possibilities seem endless - from interactive museum maps, to photographs of artefacts being enlarge and manipulated, to uploading a virtual museum tour onto your cell phone, this new surface computing could add a lot of pizzazz to an exhibit, display, or meeting (and it only (!) costs $5,000-$10,000).

Can you get more out of a virtual museum tour?

Recently, a fellow student in the M.A. program at UWO stated that a virtual museum tour can be more intimate and detailed, and that they preferred the virtual tour, over the hustled and detached tour they associated with museum visits. I was surprised to hear this, not in a judgemental or contradictory way, but in a, "Wow! I would have never thought of that," way. Personally, I only go to a museum's website for a few specific things, such as, directions, exhibit schedules, and possible internship opportunities.

I decided to look into the virtual museum to see if it was indeed a positive experience, and challenge my comprehension of what a museum visit should be (marble stairs, large groups of children, lines, tour guides, velvet ropes, gift shops, unique architecture, etc.). I decided to look at the virtual tour for the Rock and Roll Hall of Fame in Cleveland, Ohio. Having visited the museum this past summer, the image, atmosphere and tour is fresh in my memory.
I entered my virtual museum visit with an open-mind and I started out with four giant bonus points on the side of the virtual tour: 1) I was in my pyjamas 2) I was drinking coffee 3) I was alone 4) It was free! But my bubble soon burst when I recognized the painfully quiet sound of my own apartment. The onsite Rock and Roll Hall of Fame is full of games, audio clips and visual clips, which saturate the museum with the sound of music and musicians. The website was already falling short, with very little audio and visual interest. So, I thought I would visit one of my favourite exhibits, the ‘Revolution Rock: The Story of the Clash’ – as I remember it, it was loud, dark, full of onlookers and loaded with information, pictures and artefacts. What I found was this. White, clean, and quiet! I especially noticed that this virtual exhibit created a distinct absence of intimacy with the objects in the collection, displaying the showrooms from a distance and only narrowing in on one poster and one guitar. Throughout the tour I noticed that the Hall of Fame included 'Artefact Spotlights', which would change as you selected different topics. While this was an interested effect, it takes the artefact out of any collective storyline or context for the virtual viewer; instead, they just see Hank William’s White Wool Hat or Chuck Berry’s Gibson Guitar. In order to find out more about the artefact, the viewer must click on the picture and leave the exhibit they are visiting at that moment.

As I continued through the virtual tour, there were some advantages, such as a closer look at the Everly Brother’s Report Cards, which I remember not being able to make out too clearly at the museum. As well, little things such as Janis Joplin’s scarves, which were displayed at the museum among numerous other possessions, are photographed separately to provide a visible and clear look at the artefact. Also, the virtual tour allows the viewer to access things such as Past Exhibits and Travelling Exhibits, which you may miss with an onsite visit.

In some ways, the virtual tour did allow for a more intimate and somewhat detailed look at numerous artefacts. Overall, though, the virtual tour of the Rock and Roll Hall of Fame fell short for me. I preferred the onsite tour full of flying cars, loud concerts scenes, hyper children, numerous artefacts, games, video clips and old Rolling Stone Magazines. Maybe the Rock and Roll Hall of Fame wants the virtual experience to lack-lustre? Perhaps it is just a tease to get us down to Cleveland, to see the real thing? They make more money from onsite visitors anyway – I have an expensive ticket stub and overpriced magnet to prove it!

P.S. - I love cardigan sweaters!

Over the holiday break, I had access to my family car, which resulted in numerous long trips to Toronto and unnecessary shopping. Fortunately, it also allowed me more time to listen to CBC radio. Although I often listen to CBC radio at home, it is never for a substantial length of time. This break, I was pleased to notice that the CBC was making great use of its archival holdings, often incorporating sound clips from the past into relevant and interesting topics for the present. From New Year’s Eve predictions since the late-50s, to the top Christmas toys from the mid-80s, CBC radio used sound clips to connect the audience to the past and harked back to different, rare moments in time.

Since returning from my break, one audio clip has remained on my mind from CBC's segment 'Flipback' on December 27^th. Unfortunately, when I went to find the clip at CBC Radio online, I was unable to locate it. Luckily, YouTube had the clip that I was so desperate to share: 'Mr. Rogers talks to US Senate'. When my sister and I first heard Fred Roger’s voice, it immediately gave us chills and we became reminiscent of our childhoods. It also happened to send us into a discussion about our generation’s supposed sense of entitlement and the lasting effects of songs such as, 'You are Special' and 'I'm Still Myself Inside'.

Now, listening to the clip again, it helps me comprehend how powerful and massive a collective childhood memory can be. Mister Rogers’ Neighborhood ran continuously from February 1968 to August 2001, daily entering homes and engaging children throughout North America. With his straightforward, thoughtful and calming style of entertainment, Mister Rogers was able to directly speak to several generations of youth. For thousands, possibly millions, Mister Rogers was a childhood staple and arguably an immensely influential figure for countless individuals. Thanks to CBC radio's 'Flipback' I was prompted to reflect on this important and strangely impressive childhood legend. Mr. Rogers’ Neighborhood takes me back in time and opens the flood gates on thoughts about the collective memory thousands share with me and Fred Rogers.

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" So, let's make the most of this beautiful day. Since we're together we might as well say: Would you be mine? Could you be mine? Won't you be my neighbor? Won't you please, Won't you please? Please won't you be my neighbor?" - Mister Rogers

Being An Outsider: A How To Guide

Start out your journey by being a twenty-six year old, history student with a computer dating back to the mid-90s. Then add your gender as female and your hobbies as camping, reading, running and anything outside the realm of video games and computers. Then (and here’s where it gets tricky) decide to travel two hours to engage in a full-day Northern Digital Expo! This my peers, is how to feel like an outsider.

It is interesting to note that just days before the expo, I was comfortably engaged in my weekly digital history class, exploring ideas surrounding the digital world and discussing possible display technology. Reflecting on my day at the expo, I started to think: what were the major differences between class and the expo? Why did I feel so comfy/cozy in my digital history class, but not in the digital expo world?

It turned out to be pretty easy to spot the differences. For starters, my digital history class does not have dancing, Old Spice, ‘cyber girls’, which, I am guessing were aimed at the majority of expo goers – male, 15 to 25 years old. Secondly, my digital class does not have a deafening loud heavy metal(-ish) band playing while we are computing. And lastly, our classroom, for the most part, does not smell like a mixture of energy drinks and Doritos, which were handed out in large quantity, for gamers to smear all over the latest controllers, keyboards and virtual reality simulators.

Now, the Digital Expo had some interesting and more positive elements: guitar hero wars, large gaming arenas, massage tables (mostly unvisited), and the latest in Mac computers - but for the most part, it felt more like a toned down frat party than a digital expo.

‘Playing Indian’ at Ontario Summer Camps: Has anything really changed?

With days becoming shorter and cooler, I yearn for my summer in Algonquin Park, where I would lounge on the deck, paddle around the lake, chat with campers and head out to Native Council. Wait a second…? Did I say Native Council? That’s right, as late as 2004 (my last summer in the park) my summer camp sustained the contested tradition of “playing Indian”.

In the early to mid 20th century, summer camps in northern Ontario boosted their traditional, back-to-nature approach advertising Native councils, war canoes, smoke signals and long-established Native dances. Flashy camp brochures were adorned with pictures of campers wearing feathered headdresses, applying war paint and taking part in chanting circles. Although I would like to believe that the ideas of cultural appropriation and constructed stereotypes of Native Americans are far behind us, the days of ‘playing Indian’ are still surprisingly present.

While the camps are more discreet in their inclusion of ‘playing Indian’ (less advertising, less war paint) many still adhere to the socially unacceptable act of ‘playing Indian’. I think this tactic is a form of appropriation that is unnecessary, insensitive and misleading, leaving campers with an artificial impression of traditional Native culture. If the camps would include an educational aspect to these “Native” experiences, a more holistic and historically engaging experience can be created for the participants. Historical recreations can be positive and campers can learn about Native culture without playing on offensive stereotypes.


(Written upon reflection of Sharon Wall’s “Totem Poles, Teepees, and Token Traditions: ‘Playing Indian’ at Ontario Summer Camps, 1920-1955,” Canadian Historical Review.)

Exhibit Review

“The Charm of Rococo: Femininity and Footwear in the 18th Century.” The Bata Shoe Museum, 327 Bloor St. West, Toronto, Ontario. Temporary exhibit: June 2006 to February 2008. Square footage unavailable. Elizabeth Semmelhack, Curator. Date Visited: October 22, 2007.

“The Charm of Rocco” is a temporary, yet surprisingly long-standing exhibit located at, and funded by, the Bata Shoe Museum in Toronto, Ontario. This comparatively small exhibit was created by the Bata Shoe Museum’s head Curator, Elizabeth Semmelhack, and was designed by multiple in-house staff. The museum also brought in Tom McAneny, a guest artist, who, with direction from Semmelhack, created an extravagant exhibition space. This elegant and visually opulent display captures the eye and imagination of those visiting the museum, taking them back into the luxurious era of the Rococo period. The goal of the exhibit is not only to be visually appealing, but aims to demonstrate the shifting styles in footwear during 18th century France and the connection between femininity and footwear. By maintaining the artefacts in pristine condition, the museum seeks to display and celebrate some of their most beautiful possessions, and accompany them with a brief history of the Rococo period.

The presentation of history throughout the exhibit, although accurate, is understated. The exhibit focuses on femininity and footwear during the Rococo period in France, stating, “emanating from the French court, the Rococo aesthetic infused a sensuous charm and delicate grace into 18th century fashion, it also defined femininity in new ways.”[1] The exhibit, although successful in its display of femininity and footwear, gives very little insight into the art-historiography of the period or fashions prior to or post Rococo. Separated into eleven different sub-groups, the exhibit displays about four to five pairs of shoes under each sub-title, yet the historic description associated with each grouping, is usually only a few sentences long, giving a very general overview of the artefacts. Often, the shoes are left unaccompanied, without any artefact-specific description, such as the exact date, the material used, the original creator or the succession of ownership. The shoes are classified under sub-titles, such as ‘Baroque Brilliance’, ‘Pretty Maids,’ ‘Frills’ and ‘Off with Their Heels’, and although the panels accompanying the shoes are well written, on average they lack the essential descriptive notes required to gain a greater historical context. For example, under the description ‘Off with Their Heels,’ the exhibit states, “the loss of the high heel signalled as a change in idealized femininity,”[2] however it does not examine or compare the four sets of shoes accompanying the text, leaving the visitor with an general impression, but not a highly detailed understanding of the footwear, fashion and changing standards of femininity.

Although the presentation of history is simplified, the overall affect and lasting impression of the exhibit design is noteworthy. The general themes of femininity are conveyed and the design of the exhibit highlights the importance of extravagance and elegance during the period. The room that houses the exhibit is extremely lavish, painted with gold sunburst and white walls, three gold chandeliers with flickering ‘candles’, and eight large mirrors lining the walls. The mirrors not only create a sense of space, but also reflect the flicking light of the chandeliers creating a sensuous mood. The exhibit creators, although focusing on mood lighting, use track lighting as well, to bring attention to the objects displayed. The visual tactics used by the creators of the exhibit are indeed one of the most significant and influential parts of the display, as it reinforces the extravagant spirit of the Rococo period. “The Charm of Rococo” is successful in the sense that it creates an awe-inspiring environment, for the remarkably beautiful artefacts. The artefacts presented are the exhibits’ chief focus, since historical description, original artwork or other media outlets do not accompany them on average. The display houses forty-three pairs of shoes, and fourteen single shoes, which alone creates an abundance of visual substance.

Although light-hearted and engaging, “The Charm of Rococo” is designed with a specific audience in mind: the school group. The exhibit is frequented by high schools, which incorporate the field trip into their Visual Arts programs and touch on the art history associated with the period. Fine art students and art history students from the University of Toronto, Ryerson University and the Ontario College of Art and Design, also frequent the exhibit. Major themes run through the exhibit, that can be manipulated to address the history of the French Court, the art of the Rococo period or the history of fashion in general. To get the most out of the exhibit, the audience is best equipped if they have an understanding and interest in art history. For example, one-panel states, “silverlace decoration and high ‘Van Dyck’ tongue is a fine example of early Rococo style.” For the audience, this statement is only significant to those who can identify Van Dyck as a popular portrait artist from the 17th century. Although the intended audience are students, the exhibit does cater to a wider audience in the sense that the artefacts are visually stimulating and the content is linear and quick to explore. The Bata Shoe Museum is a top tourist attraction in Toronto, but for the general public, the larger exhibits focusing on Native Footwear, Pop-Icon Footwear and Chronicles of Riches, generate a wider audience. Artefacts such as Terry Fox’s running shoes, Elvis Presley’s white penny loafers and Princess Diana’s baby blue pumps, in general, generate a larger audience. “The Charm of Rococo” is tucked away on the second floor, often only visited by guided tour.

Overall, the exhibit has both positives and negatives aspects. The drawback of the Rococo exhibit is the lack of detail and over simplified panels. Also, the location and rectangular set-up of the room is a visual weakness, as it is designed to cater to walking tour groups, such as school field trips. Another drawback is the cost to enter the museum, which remains quite expensive for the size and scope of the museum. The cost ranges from four dollars for children under five, six dollars for students and twelve dollars for adults. “The Charm of Rococo” exhibit falls under these general admission costs, as well as several other larger exhibits. A new positive feature is that the museum is now free on Thursday night from 5:00 to 8:00 pm, opening up a wider, potential audience for the Rococo exhibit. Primarily though, the positives lie in the exhibits use of the artefacts and the elaborate decoration of the space. Bringing in guest artist Tom McAneny to recreate the emphasis the style of the Rococo period was a major plus for the exhibit, as it reinforced the beauty of the artefacts themselves. “The Charm of Rococo” is a clear representation of the type of history the Bata Shoe Museum wants presented, which focuses more energy on the displaying of artefacts, than on the detailed history behind them. In this case, the splendour and grace of the artefacts, and the elegant and rich atmosphere in which the exhibit is shown, make up for the contextual shortcomings. The artefacts and the design carried an otherwise average exhibit to the next level, making it a memorable and positive experience.

Notes:
[1] Elizabeth Semmelhack, Introductory Panel, “The Charm of Rococo: Femininity and Footwear in the 18th Century.” The Bata Shoe Museum.
[2] Semmelhack, Off with Their Heels, “The Charm of Rococo.”