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How to do oral history.

Oral history is a technique for generating and preserving original, historically interesting information – primary source material – from personal recollections through planned recorded interviews. Below are suggestions for anyone looking to start recording oral histories based on best practices used in the Smithsonian Oral History Program at the Smithsonian Institution Archives.

Click here for a printout of our How to Do Oral History Guide .

What is oral history.

The Six R’s of Oral History Interviewing

Preparing for Oral History Interviews

How to ask questions in oral history interviews, suggestions for recording oral history interviews.

Suggested Topics/Questions for Oral History Interviews

After the Oral History Interview

Readings and online resources.

Oral history is a technique for generating and preserving original, historically interesting information – primary source material – from personal recollections through planned recorded interviews. This method of interviewing is used to preserve the voices, memories and perspectives of people in history. It’s a tool we can all use to engage with and learn from family members, friends, and the people we share space with in an interview that captures their unique history and perspective in their own words. Oral history stems from the tradition of passing information of importance to the family or tribe from one generation to the next. In the United States, the Oral History Association connects oral historians and provides a broad range of information on oral history.

Technique : The methodology of oral history can be adapted to many different types of projects from family history to academic research projects in many different disciplines. The interviews should usually be conducted in a one-on-one situation, although group interviews can also be effective.

Sharing: In collaboration with a well-prepared and empathetic interviewer, the narrator may be able to share information that they do not realize they recall and to make associations and draw conclusions about their experience that they would not be able to produce without the interviewer.

Preserving : Recording preserves the interview, in sound or video and later in transcript for use by others removed in time and/or distance from the interviewee. Oral history also preserves the ENTIRE interview, in its original form, rather than the interviewer’s interpretation of what was said.

Original historically important information : The well-prepared interviewer will know what information is already in documents and will use the oral history interview to seek new information, clarification, or new interpretation of a historical event.

Personal recollections : The interviewer should ask the narrator for first-person information. These are memories that the narrator can provide on a reliable basis, e.g., events in which they participated or witnessed or decisions in which they took part. Oral history interviews can convey personality, explain motivation, and reveal inner thoughts and perceptions.

Martha Ross: The Six R's of Oral History Interviewing

The oral history interviewer should strive to create a situation in which the interviewee is able to reflect widely, to recall fully, and to associate freely on the subject of the interview, and to maintain an atmosphere in which they are willing to articulate fully those recollections.

The following six considerations are basic to good oral history practice.

1. RESEARCH: Thorough preparation enables the interviewer to know what questions to ask and is essential to establishing rapport with the interviewee. Research pays off during the interview, when the interviewer’s knowledge of names, dates, and places may jog the interviewee’s memory.

2. RAPPORT: Good rapport is established with the interviewee by approaching them properly, informing them of the purpose of the project, and advising them of their role and their rights. A pre-interview call or visit to get acquainted and discuss procedures is recommended.

3. RESTRAINT: The experienced interviewer maintains rapport by following good interview techniques: being efficient but unobtrusive with equipment, starting at the beginning and proceeding chronologically, asking open-ended questions, listening closely without interrupting, following up on details or unexpected avenues of information, challenging questionable information in a non-threatening way, and generally maintaining an atmosphere in which the interviewee feels able to respond fully and truthfully.

4. RETREAT: Close each interview session by asking a “deflationary” question, such as an assessment of the experiences just discussed. All sessions should be planned and scheduled so that they conclude before the interviewee becomes fatigued.

5. REVIEW: Interviewers should listen to their interviews soon afterwards to analyze their interviewing techniques and to pick up details to follow up on in subsequent sessions.

6. RESPECT: Respect underlies every aspect of oral history – respect for the interviewee as an individual, their experience, for the way they remember that experience, and for the way they are able and willing to articulate those recollections. Maintaining respect toward the individual interviewee and toward the practice of oral history interviewing is essential to success as an interviewer.

NOTE: Martha Ross is the “mother” of oral history in the mid-Atlantic region and taught at the University of Maryland in the 1970s and 1980s.

1. Select an interviewee.

2. Ask the interviewee if they are interested.

3. If interviewee is interested, set up a time and place for the interview. Also request any background information the interviewee might want to provide. Check about the best place – somewhere quiet where you won’t be disturbed. Request at least two hours for the interview session.

4. Write a follow-up email confirming plans for the interview that discusses the goals, legal rights, and how the interviews will be handled. Provide a very general list of topic areas and ask them to think about topics they would like to cover.

5. Conduct basic biographical research on your interviewee. Conduct internet searches. Read publications and profiles. Ask others about topics you should cover, stories they should tell.

6. Develop a chronology of the important events in their life. Develop lists of personal names and terms important in their life, such as geographic names where they traveled, names of important family or community members. Compile a folder of photographs of the interviewee and their world. These will prove invaluable in the interview when the interviewee gets confused or forgets names.

7. Rework the question outline, making it relevant to this interviewee, deleting topics that don’t pertain to them, and adding areas, such as organizations they were involved in, etc.

8. With the equipment, PRACTICE, PRACTICE, PRACTICE until you can use it in your sleep. Practice interviewing family members and friends. Then delete all the files you’ve created, so the recorder is at full capacity. Make sure all the settings match the instruction sheet. Make sure that you have all the necessary pieces of equipment, such as the recorder power cord and an extension cord.

9. The day before the interview, confirm time and place.

10. Bring with you: equipment, extension cord, cell phone (in case of equipment problems), question outline, chronology, terms, photos, etc., legal forms, extra paper for notes and a pen. Also bring throat lozenges or hard candy, in case throats get dry. If possible, bring a camera and take photograph of the interviewee at the interview.

11. When you arrive, assess room for sound. Turn off equipment, close doors, and rearrange furniture into a comfortable arrangement facing each other close enough to hand photos but not too close. Set up equipment so you can monitor it constantly and discretely, without turning away from the interviewee.

12. Go over the list of topic areas again and permissions again.

13. Ask about any scrapbooks, news clippings, awards, etc., that they might want to bring out.

1. Find a quiet place to conduct the interview where you won't be bothered by telephones, family members, pets, traffic noise, etc. Get two glasses of water. Take a photograph. Turn off cell phones, etc.

2. Explain to your interviewee what you are doing.

Explain their legal rights. Explain how interview is likely to be used. Explain that they can choose what questions to answer and that the recorder can be turned off at any time.

3. Ask your interviewee to sign the deed of gift and cosign it yourself if you have one.

4. Use an outline of topics you wish to cover, with follow-up questions, that you have prepared in advance. Also bring photographs and a personal name and term list, and chronology.

5. Start with easy questions, such as their name, where and when born, names of family members.

6. Allow the interviewee to do the talking.

7. Ask "open-ended" questions, such as, tell me about, describe, etc., what do you remember about?

If the interviewee responds with just a yes or no, ask how, why, when, where, who. What the interviewee chooses to tell you and how they choose to tell it is just as informative/revealing as the actual answers they give.

8. Avoid “closed-ended” questions that can end in a yes or not, or single fact.

Examples, were you there? What was date of that? Did you like that? If you get a short answer, follow up with tell me more, who, what, when, where, how and why.

9. Do not ask leading questions – was it this or that? Or I thought that the most important thing was…..These have been demonstrated to affect interviewee’s answer and will taint your interview.

10. Ask one question at a time and try to ask simple questions.

11. Try to ask follow-up questions – tell me more, who, what, where.

12. To stimulate their memory, use “statement questions” such as, “In 1956, you traveled to Tibet to conduct research. How did that trip come about?”

13. Focus on recording their personal experiences, rather than stories about others or that they have heard. If you’re getting general stories, say tell me about your role, describe how you felt that day or dealt with that crisis, etc.

14. Don't worry about silences. Let the interviewee think and take time before they answer. Look at your outline and check off topics if the interviewee needs time to think.

15. Note what types of questions your interviewee responds best to and try to adapt your style to what works best with them.

16. Let the interviewee suggest topics to you that you might not have thought of.

17. Allow the interviewee to drift off to topics not on your outline. These can be the best part of your interview.

18. After an hour or less, ask interviewee if they would like to take a break. Write down the last words as you turn the recorder off.

19. Provide the interviewee with feedback by nodding, smiling, listening attentively. Try to avoid too many verbal responses that will record over the interviewee, such as “Really!’ or “Uh-huh, uh-huh.”

20. Don’t be afraid to politely question information that might be incorrect – ask for a clarification, or say something to the effect, “Oh, I’m confused, I thought that Mrs. X was involved in that.”

21. Reword questions that the interviewee does not answer – they may not have heard what you thought you asked. But they have the right to not answer if they don’t want to.

22. Do allow the interviewee to tell “THE STORY.” Most interviews have a favorite story. They will fit it in somehow, so let it happen! Allow some repetition since additional details may emerge with a second version, but don’t allow your interviewee to keep telling the same story over and over.

23. Bring visuals, if possible, to stimulate memory or ask to bring out photo albums of trips or family events, etc. Invite the interviewee to bring visuals to the interview.

24. Let the interviewee do the talking. Try to avoid telling your own stories, “Yes! When I was there….” or offering your own opinions. If asked for an opinion, explain that the interview is designed to record their point of view, not yours.

25. An interview usually does not last much longer than 1 1/2 to 2 hours. After that both interviewer and interviewee get tired and lose their concentration.

26. End interview gracefully, asking them to assess their lives and the topics you have discussed.

27. Ask your interviewee to spell any names or places you did not understand.

28. Clean up. Make sure you have all pieces of equipment.

29. As you depart, keep options open to return for an additional interview.

1. There are many recorder options that will record an uncompressed preservation quality audio file. If you do not have access to a recorder, most smartphones have recording software that will record an MP3 audio file.

2. If possible, record an uncompressed WAV audio file at 24 bit.

3. Use external microphones if possible.

4. Check room for extraneous noise such as motors, fans, pets, traffic, etc.

5. Test the recorder to check the volume of the interviewer and interviewee and to see if it is picking up any static or surrounding noise.

6. Begin with an introduction that identifies who is being interviewed, who is conducting the interview, where, when, and the purpose of the interview.

7. Ask if you have permission to record the interview.

8. Avoid speaking while your interviewee is sharing. Instead, try to use physical cues that you’re listening like nodding and taking notes instead of affirming “mhmms.”

9. Upload the files from the recorder to your computer, external hard drive and/or the cloud to ensure you don’t lose the file.

10. Name the file in a way you can identify it later. Ex: LastnameFirstname_Date_Interview#_File#

11. Make copies of your digital file. Save a copy to an external hard drive and/or the cloud.

Guide to Conducting Oral History Interviews (Comprehensive)

Categories: Research for Storytelling
Tags: featured , Oral history interviews

A complete guide for conducting oral history interviews for storytelling.

Of all the various opportunities I have to research and write narratives, the most important and productive research was when I conducted oral history interviews. When we talk about the oral history interview, we closely associate the topic with writing individual and family narratives. In this “Complete Guide for Conducting Oral History Interviews for Writing Narratives,” I will present the oral Interview and oral history as one topic under the umbrella of oral history.

The difference between writing mediocre and a great narrative is planning, researching, and carefully stitching the memories and artifacts into a cohesive blend of resources to tell the story that will inspire generations to come.

In the beginning. Shortly after my mother’s passing 25 years ago, I began the process of conducting interviews with her (Mary’s) immediate family, friends, and others who knew her. As time continued, I expanded the oral history research to include my mother’s and father’s immediate and extended family. When I completed the task 4 years later, I had gathered information spanning 100-plus years of memory, 160+ hours of interviewing, have received physical or digital copies of thousands of family images, writings, and artifacts related to those interviews. Throughout this guide, I will refer to some of my experiences in conducting these oral history interviews.

This guide is based on my personal and professional experience in interviewing hundreds of people and writing thousands of narratives over the last several decades. The following are the topics that will be covered in this guide:

What are Oral History Interviews?
What I Learned in the First Ten Oral History Interviews
How to Begin Preparing for the Oral History Interview
Oral History Interview Considerations
How to Set-up the Oral History Interview
How to Correct Oral History Recording Noise Problems
Getting Ready for the Oral History Interview
How to Conduct an Oral History Interview
Use Open-Ended Questions in Oral History Interviews
How to Get the Best Answers in Oral History Interviews
How to Take Care of Recorded Oral History Interview
Documenting Oral History Interview and Narrative

Other resources to consider include:

Complete Guide to Writing A Personal Narrative
7,500-plus Questions About Life to Ask People When Writing Narratives

Every life is important and unique. It’s about the people known, the places visited, the decisions made, the opportunities lost or gained, and the spiritual, physical, and mental vitality and folly. If your life is essential to you for no other reason, and that is reason enough to write a personal narrative.

Please do not underestimate your value and how essential your narrative will be to you and those who will read it. So often, I have heard people say, “I wish that my grandparents had written a personal narrative/history,”? We have many questions about those who have gone before us. The narrative you write will be among the most prized possessions you give to others.

Return to list of topics for Complete Guide for Conducting Oral History Interviews.

1.What Are Oral History Interviews?

The oral history interview is the collection and recording of personal memoirs as historical documentation. It emphasizes the significance of the human experience.

Oral history interviews are not the best method for obtaining factual data—such as specific dates, places, or times—because people rarely remember such detail accurately. Instead, you will need to use more traditional historical research methods—courthouse records, club minutes, newspaper accounts, and so forth—to help fill in these gaps.

Oral history interviews are the best method to get an idea of what happened, what those times meant to people, and how it felt to be a part of that time.

Oral history interviews are great for capturing eyewitness accounts and reminiscences about events and experiences that occurred during the lifetime of the person being interviewed and for gathering narratives passed down verbally from generation to generation beyond any individual’s lifetime. This includes stories, songs, sayings, memorized speeches, and traditional accounts of past events.

Oral histories provide an added dimension to historical research. An oral history project can aid your research in the following ways:

Foster appreciation for little-known or rapidly vanishing ways of life.
Verify the historical nature of events that traditional methods of historical research cannot determine.
Correct stereotypical images of life, ways, and people.
Recover and preserve essential aspects of a human experience that would otherwise go undocumented.

What are the types of oral history interviews?

There are four basic types of oral history interviews. They include:

Life histories. These are oral interviews with individuals about their backgrounds from childhood to adulthood. Most of these oral interviews follow a chronology in time. Life histories provide an opportunity to discuss various subjects based on the interviewer’s interests and the interviewee’s remembered experiences and perspectives. They are ideal for writing narratives and learning about family.

Topical histories. These oral interviews are often used for focused studies of particular events, eras, or organizations. Examples include discussing the Depression Era in the local county/community or about an event like a flood, mudslide, or storm that devastated a community. An oral study about World War II in a specific locale, for example, might include interviews about military involvement, civil defense preparedness, the home front, rationing, bond and scrap metal drives, war industries, and myriad related topics.

Thematic histories. These studies focus on broad patterns and concepts. These themes could include love, conflict, hope, religion, education, competition, success, or art. Thematic oral histories are not common, but they present opportunities worth considering.

Histories to document specific artifacts or sites. Oral history interviews may be used, for example, to explain items within a museum collection— how to churn butter, how to operate a Farmall F-12 tractor, how to use a Victrola, how to dress for travel in the 1940s. Another method is to have a subject orally document the history of an individual home, a particular street, an old schoolhouse, a vacant field or an overgrown cotton patch.

2. What I Learned in the First Ten Oral History Interviews

During my mother’s funeral and memorial services, I had many people tell me about their experiences with Mary as a youth, as an adult, and at work. They told me about her service and reshared her thoughts and pride for my siblings and me. I longed to know more about my mother. I realized that I knew very little about my mother. I felt a genuine sorrow and emptiness for wanting to learn more about my mother.

Whenever I asked Mom (Mary Schreiber) about her life while living, she replied that it was hard and nothing more needed to be said. Because of my need and desire to learn about my mother, I awkwardly yet earnestly began reaching out to people my mother knew to see if they would allow me to interview them about my mother. Every person gladly agreed. So within three months, I began conducting oral history interviews. The journey started with my conducting oral interviews with family, friends, co-workers, and my mother’s acquaintances. I expanded the project also to include discussions related to my father. Over six years, I conducted over 160 hours of oral history interviews.

The first ten oral history interviews were more than people simply answering my questions. They were individuals who had respect, love, and insight into Mary as a mother, friend, and sister. I was discovering the Mary Schreiber I was never privileged to know thoroughly. I loved my mother before, but I loved her even more following the interviews. This group of ten people held the keys to every stage of my mother’s life. They answered my questions honestly, directly, and without any reservation. As a result of the interviews, I learned about the following aspects of my mother’s life:

Cherished experiences they shared with Mary
Traits they admired about Mary
Innermost thoughts Mary shared with them about her life and family
Her dreams that were dashed by choices in marriage
Dark, troublesome times of pain and sorrow that was triumphantly overcome
My heritage and roles of progenitors in preparing a path for me
Family rifts that were three generations deep
Identification of photos and other artifacts
Individuals and families from my heritage whom I should learn more about
“Skeletons” that were long since buried
Precious artifacts (photos, cards, letters, scrapbooks, journals) that were given to me to keep or to scan
Artifacts that existed and where I could find them

There were two important takeaways from those first ten oral interviews for anyone just starting to conduct oral history interviews about individuals or family members. They include:

Conduct oral history interviews with immediate family members

Take time to interview and compare your memories with those who have direct knowledge about the person. This can include siblings, parents, cousins, grandparents, and others. Oral history is about people, who they were, and the stories of their lives. People often share that they want to learn more about individuals and their family heritage.

I will respond with questions like, “What is keeping you from talking to your family?” The replies vary from

I don’t know how or where to start.
I don’t get along with some of my family.
I don’t have time.
I will wait till I am retired.

I try to emphasize by sharing that those were my feelings exactly. Then I briefly share my experience with the death of my mother and my need to know more. I conclude by gently encouraging them not to wait until after a relative passes on to find information or conduct oral histories. Someone in the family has excellent information. People will and want to talk to you. Because you are willing to take the effort and ask questions, people will go out of their way to help answer your questions and share information and artifacts (e.g., photographs, letters, scrapbooks, journals, video, and more) related to your quest. Rest assured that your family will answer your questions and insights that will be invaluable to writing a narrative, story, or memoir.

Oral interviews provide opportunities to locate family records

Oral interviews provide opportunities to locate, identify, catalog, and preserve artifacts significant to the family and why those items are essential. Artifacts can include heirlooms (such as furniture, small collectibles, and photographs), manuscript materials (diaries, letters, and family bibles), and copies of public records (certificates of birth, marriage, death, land, patents, and wills.)

Of the more than 60,000 artifacts I have gathered relating to my mother and father and their ancestral lines, 75 percent have come from interviews with family. Once I was made aware of available information, I was permitted to scan or photograph the artifacts. In several instances, I was given the life-long research of the person I was interviewing because I had an interest shared by anyone else.

3. How to Begin Preparing for the Oral History Interview

It is natural to want to rush out and start the interview process, but no project should begin without some essential investigation of available resources. I found that by gathering and organizing material, I was able to gain an excellent insight into which direction I should go and what questions I needed to ask. As you prepare, you may need to review other artifacts, such as old newspapers, county histories, archival records, cemeteries, and photographs.

Who should I include when writing an individual or family narrative?

Include family and friends of the person whose narrative you are writing. Involving family and friends in writing a personal, individual or family narrative will make the process more accessible (and the result more interesting). Still, it will also help ensure that you have an audience of interested readers connected to the completed work. Start the process of involving family and friends by sending them a letter or email signed by the subject of the narrative, if available. These communications are most effective if, at a minimum, they accomplish the following:

Introduce the narrative writing project and explain the desired time frame for completion.
Share that you will be reaching out over the next several months to request and schedule time for an oral history interview.
Ask the recipients to collect photos, stories, and memorabilia that might be appropriate for use in the completed narrative.
Offer to pay for any copies and other costs they incur in assisting you.
Ask family members to contribute their favorite stories concerning the subject.
If writing a letter, include a self-addressed, padded envelope and “advance reimbursement” for the out-of-pocket costs they will incur in assisting you.

Who should I interview for the narrative?

Start by creating an acquaintance list. For Mary, my mother, I brainstormed a list of family, friends, and acquaintances who I knew. The list started with 20 names. This will grow over time. As I conducted interviews, I was introduced to new people with whom I should meet.

Who should I interview first? I organized Mary’s list of family, friends, and acquaintances into the following three groups:

Group One: Family and friends she spoke with often during the last five years of her life.
Group Two: Family, friends, and acquaintances appeared (in artifacts) at critical moments in her life (for example, bridesmaids at her wedding).
Group Three : Family, friends, and acquaintances in everyday activities with her, such as a friend’s birthday or a group picture in the cafeteria.

I began with Group One, which consisted of ten people. I prepared for the interviews by developing a few general, broad questions that would help uncover information about each period of my mother’s life and call each person to set up the Interview.

4. Oral History Interview Considerations

Before I get into the actual details about how to set up and conduct oral history interviews, I would like to address essential choices such as

Where to Conduct the Interview
Type of equipment to consider and use

How many people should I interview at a time?

When you have an option, choose to interview the person in their own home. It is by far the best option, as the interviewee will be much more relaxed. A one-on-one interview is best. Privacy encourages an atmosphere of trust and honesty. A third person present, even a close partner, can inhibit and influence the free discussion.

Should I audio record or video record an oral history interview?

I would say that 85% of my interviews are done with audio recordings. When possible, I like to use both the audio recorder and video for interviews. However, the choice may not be yours. Sometimes, a person who is comfortably sitting and talking into a digital recorder will cringe at the thought of being on a video recording. If you’re uncertain, ask the interviewee. Whether using audio or video is more convenient for you, you’ll get the most from an interviewee who is comfortable with the environment. Getting their Interview is most important.

Do I need to record the oral history interview?

Because you can’t write down everything that someone tells you, it is a good idea to use an audio or video recorder. Over the years that I have conducted interviews, I have found that recording the Interview leaves me free to focus on the discussion. The only notes I took were thoughts that came during the discussion about further questions to ask or expand upon.

Your recordings will be unique historical documents that other people need to hear and understand quickly, so it’s worth getting a good-quality recording. When you record, you can focus on the Interview and worry about writing down notes and deciphering them later.

When should I conduct telephone oral history interviews? I did say that the interviews are in person. However, I would say that 50% of my oral history interviews have been over the phone. Why? I simply lived too far away from the interviewee.

Recording an Interview via Telephone. The FCC protects the privacy of telephone conversations by requiring notification before a recording device is used to record interstate (between different states) or international phone calls. I always ask the interviewee if I can record the call and have their answer on the recording. If they say, no, then I shut off the recording. Interstate or international telephone conversations may not be recorded unless the use of the recording device meets the following requirements:

Preceded by verbal or written consent of all parties to the telephone conversation; or
Preceded by a verbal notification that is recorded at the beginning, and as part of the call, by the recording party; or
Accompanied by an automatic tone warning device, sometimes called a “beep tone,” automatically produces a distinct signal that is repeated at regular intervals during the telephone conversation when the recording device is in use.

Also, a recording device can only be used to be physically connected to and disconnected from the telephone line or if it can be switched on and off.

What type of equipment do you need for a telephone oral history interview?

There are many ways and apps to use when recording a telephone call. I used the following equipment and resources for interviews because they have proven to the most reliable:

A digital-cassette player like the Sony ICD-UX570 Digital Voice Recorder.
A microphone that I could place under the earpad like the Olympus TP-8 Telephone Pick-up Microphone. The microphone is on the outside of the earplug.
Headset like the Plantronics Blackwire C3220 Headset for clear communication. My headset is the “Plantronics Voyager Focus UC Bluetooth USB B825 202652-01 Headset with Active Noise Cancelling” which I use also use for work.
List of questions for Interview.
Note pad to record thoughts, requests, and promises.
Computer to save my digital recording afterward.

Before each interview, I made sure the recorder worked and the lines were clear. If you haven’t used a recorder for interviews before, it is imperative that you practice recording and asking questions so you know your equipment and questions. That way, if you have any problems, you will have time to research and make corrections.

Can I use video conference software like Zoom for remote oral history interviews?

Yes. Zoom and other video conferencing software can be an excellent alternative to in-person and telephone-only oral history interviews. However, as the narrator/interviewer, you will need to have some essential practice on using the software and how to help the interviewee set up software on their end.

Pre-interview with Interviewee. Don’t assume you will set up an interview and jump on video conferencing software like Zoom and conduct a video oral history interview. While you may have had the experience of multiple interviews, your interviewee will not have had this experience. I suggest you set aside some time to become acquainted with the software and work out the technical aspects. Set up a pre-interview meeting with the interviewee. During the meeting, you can discuss how the interview will progress, set up both interviewer and interviewee computers, and make adjustments for sound, recording, camera, bandwidth speed of internet connection, and quiet room with little or no noise.

Choose a quiet, well-lit room . As the interviewer, you must find a quiet, well-lit, and relatively quiet room. The following is a checklist of considerations when recording.

Room smaller than 12 feet x 15 feet. Home office or den with carpet or plush services.
Make sure the room is well. I like having an incandescent or table lamp. I am looking to have a light that will show both sides of my face. Overhead lighting tends to leave dark shadows on a person’s face.
Ensure your computer or another camera you are using does not face the window or direct light source. Close the blinds or find another space.
Sound can bounce off walls and give you an echo effect. To reduce this effect, I like rooms with a mix of features like carpet, plush soft surfaces, plush/stuffed furnishings, bookcases, etc., which help to absorb sound.
Listen for noise such as fans, clocks, refrigerators, animal sounds like barking, outdoor sounds (close windows).
Close blinds or shield computer camera from direct sunlight.
Listen for other sounds coming from other rooms that can be heard and affect recording quality, such as flushing toilets, feet on the wood floor, fluorescent lighting, walking upstairs, talking, animal sounds like barking, clocks, fans, refrigerators, and more. Where possible, seek to minimize these sounds like asking the family to be in a different room while you are recording, using a different bathroom, not running the lawnmower, taking off shoes, and so forth.
Do not use artificial digital backgrounds. They look fake and can be irritating for the interview to watch.
Check your background. Less is more. By this, I mean, stay away from busy backgrounds. A bare wall is ok, but a painting or bookcase on the screen is better.

Recording equipment. When you are conducting a video interview, you need to be aware it takes more than simply opening your computer and turning on Zoom or video conferencing software. Consider the following:

Laptops with built-in cameras and microphones ideal. Tablets with the same configuration are also appropriate.
I like to use headphones with a built-in mic. The headphones help block out sound, help me contrate on the interview, and improve my voice with the mic. For example, a headset like the Plantronics Blackwire C3220 Headset for clear communication. My headset is the “Plantronics Voyager Focus UC Bluetooth USB B825 202652-01 Headset with Active Noise Cancelling,” which I use also use for work.
Listen for mic rub. This is where your mic rubs against clothing and delivers a scratchy sound. Avoid clothing with turtlenecks, large jewelry, scarfs, and large stiff collars.
Shut off all apps on your computer. Close as many tabs as possible from your browser.
A good quality Zoom or video conferencing call needs a minimum download/upload speed of 75/9 MBPS (megabytes per second). If you have connections, try turning off Wi-Fi devices in the home and minimize video streaming by others such as the TV, phones, etc. You can find your intent speed by doing a Google search on the term “Internet Speed Test.”
Beware of internet bandwidth. Bandwidth has to do with how much information your internet can upload and download. Many neighborhoods run off the same cable provider internet system. Reduces speed can cause an issue like stalled video images, breakup voice, etc. If this is happening, consider moving your interview to a time in the evening when there is less internet use. If you have fiber optic connections, you should be fine.
I use a digital record digital-cassette player like the Sony ICD-UX570 Digital Voice Recorder for backup and a microphone that I could place under the earpad like the Olympus TP-8 Telephone Pick-up Microphone. The microphone is on the outside of the earplug.

Interview. At the designated time you set up for the interview, join the zoom or video call you had set up. Before the interview, you should have had practice sessions of setting up the Zoom meeting, recording, etc. For more information about how to set up Zoom or other video conferencing software, do a Google search on terms like:

Zoom for oral history interviews
Zoom for interviews.
How to set up Zoom for interviews

As a best practice, I will do one or more of the following methods to make sure I have a backup of the oral history interview.

A digital-cassette player likes the Sony ICD-UX570 Digital Voice Recorder.
A microphone that I could place under the earpad like the Olympus TP-8 Telephone Pick-up Microphone. The microphone is on the outside of the earplug. See recording equipment.
On your laptop, use screen recording software to record the session.

What do I need to know about digital recorders?

Not all digital recorders are suitable for interviews. Avoid those that use proprietary software—for example, “personal recorders” that create files that can only be used with the manufacturer’s software. You are dependent on such software for listening to the sound and copying it. The typical price range for a digital recorder suitable for oral history is between $75 to $500. It comes down to the bells and whistles.

Minimum recording requirements for all digital media, including computers, are as follows:

44.1 kHz—minimum sampling rate
16 bit—minimum bit depth

Can I use an analog tape recorder for recording the oral history interview?

My personal choice would be NO. If I had this question in 2010, I would have said sure, go for it. In 2010, the recorders cost $50 to $100, those same microcassette recorders list for $300 to $600. I recently had to look for one such recorder to play 50 microcassettes that I had recorded at one time.

If you choose to use a tape recorder, you will still need to digitize the recording. Ensure you have a professional-quality tape recorder with an external microphone, and high-quality cassettes should be used. If you have a suitable tape recorder that has not been used for a while, take it to a technician for a maintenance check.

Features to look for in a tape recorder include the following:

Controls that allow you to play the tape (PLAY), wind back the tape (REWIND), wind the tape forward quickly (FAST FORWARD), RECORD, STOP and EJECT
A tape counter, which allows you to find your place within the tape by denoting a numerical location
A jack socket for an external microphone
Recording-level volume control allows you to adjust the volume at which you record
A recording-level meter
The option of using either a wall socket or battery power
A jack socket for headphones
A built-in speaker

How do I clean the recording head of a tape recorder? Cleaning your tape recorder with Isopropyl alcohol, which is 91 percent pure, applied with Q-Tips, will eliminate debris from all recorder parts that come in contact with the magnetic tape. Standard “rubbing alcohol,” which may contain some undesirable lubricants, should not be used because the ingredients may damage the rubber pinch-roller if applied regularly.

Cassettes tapes. The following are some tips to keep in mind when considering cassette tapes for recording your interviews:

Use 60-minute cassettes for recording your interviews. They are thicker than the longer-playing ones and are less likely to stretch (and thus distort the sound) or break. Do not use 90-minute tapes or larger ones. Longer tapes are too thin and tend to bleed, stretch, or tear.
Buy regular tapes, not metal or high-bias ones. The latter is designed for recording music and is too expensive for this purpose.
It is a good idea to use cassettes put together with tiny screws in each corner instead of glue because if the tape jams or breaks, the case can be opened, the tape repaired, and the case put back together again. If you are using tapes without screws, you have to destroy the case to get to the tape if it jams or breaks.
Use only name-brands of cassettes, such as Sony and TDK.

What should I use for microphones when conducting an oral history interview?

Whatever recorder you decide to use, it is essential to use an external microphone. If you are buying microphones, go for the best quality you can afford. An external microphone is preferred over one built into the recorder. A built-in microphone will record all sounds indiscriminately, including the noise made by the recorder itself. It is challenging to position a digital recorder with an inbuilt microphone to record all voices.

If you are buying only one microphone, you will need one with a stand, not one that has to be held. Hand-held microphones record any sound of the mic itself moving. Free-standing or table-top microphones are generally relatively unobtrusive and record both the interviewee and interviewer clearly if they are placed carefully. However, they often pick up an undesirable level of background noise.

Microphones pick up a range of noise in four patterns. The different types are as follows:

Unidirectional or cardioid, which picks up sound in a heart-shaped pattern in one direction. They generally record the sound around them but not directly behind them. These are the best type to use.
Omi-directional, which picks up sound coming from all directions.
Bi-directional, which picks up sound from two opposite directions.
Hyper-directional, which picks up sound from one direction only and has a very narrow field.

Microphones for indoor recording. For one-on-one interviews indoors, the best microphone is a small tie clip or lapel microphone. Lapel microphones tend not to record as much background noise as free-standing ones because the wearer’s body helps to absorb unwanted noise. Their only disadvantage is that most recorders do not have an input for more than one microphone, so while the interviewee is recorded clearly, the interviewer sounds very distant. There are two solutions to this problem: buy a recorder with two microphone input jacks, or buy a “split cord” which allows you to plug two microphones into one cord and then into the recorder. If your recorder is stereo and has two microphone sockets, you can get two microphones—one for your interviewee and one for yourself. They can be attached discreetly to your clothing and give excellent results.

Microphones for outdoor recording . For interviews done outdoors, a unidirectional (or cardioid) hand-held microphone is best, as it will pick up less unwanted noise. The ideal for interviews is to use two lapel microphones that clip onto the clothing of the interviewer and the interviewee. Electric condenser or dynamic microphones are perfect. Talk to someone at your local electronics shop (such as Radio Shack) or contact a manufacturer to determine what model would be best for your requirements. Tell them you will be recording voices, not music.

Should I use batteries, wall plugs or others with my recorder?

Most digital records come with an internal battery that will last for several hours. Make sure you bring along a way to recharge your recorder. Even better, bring an extra recorder if you can afford it if the one you are using fails for any reason.

If you use a recorder that uses batteries and has a wall plug adaptor, uses the wall adaptor first, allowing you to plug your recorder into an outlet. If you have to use batteries for your recorder, you will need a battery tester to ensure they are fully charged. I make it practice to fresh batteries for every Interview. If they are not fully charged when recording, the tape will slowly wind through the machine. When you play the recording at average speed, the voices may be distorted.

What more important, saving on batteries or getting a great, clean recording?

What should I use to carry my recording equipment?

A padded bag, such as a camera bag, helps carry your equipment and protect it from damage.

5. How to Set-up the Oral History Interview

The best way to approach someone you want to interview is by personal contact rather than by letter, and often the initial contact will be by telephone. This allows you to introduce yourself, explain your project, and outline the sort of topics you might cover in your conversation. The person you have approached may be uncertain or might feel they have nothing interesting to say, so you sometimes have to do a bit of persuading. The key is to talk in terms of “a chat about the past” or a “share a story” rather than an “interview,” which can sound intimidating.

How do I ask someone about participating in an oral history interview?

Once you have chosen the individuals with whom you would like to interview, I suggest you telephone them first. Only email them a second resort. Why? I find it much more personable to talk and have a conversation. If you can call or email, then send a letter. When I was working on my mom’s narrative, I sent emails to people and shared that I would like to speak with them about a story I was writing about my mom. I did not have anyone refuse to talk to me.

When you can talk to the potential interviewee, do the following:

Introduce yourself.
Explain why you are doing the project. Suppose the interviewee is a member of your family or someone you know very well. In that case, you will still need to explain the project, get their Agreement to record an interview, gather biographical information from them, and explain the other details listed here.
Explain what you will be covering in the Interview.
Explain that you would like to record the Interview.
Explain what will happen to the Interview once you have finished it.
Make an appointment to conduct the Interview and record it, preferably within a week.
Explain your desire to find photos, documents, and so forth to help tell the story.
Request their address or email address so you can write to them after they’ve had a few days to ponder your questions.
Give the interviewee your name and phone number to contact in case they need to clarify anything else.

Note: If the person does not wish to be interviewed, thank them for their time. Do not try to persuade them to change their mind. Every time I had coaxed someone to interview when they first said no, I had had a less-than-acceptable interview.

How do I prepare for the oral history interview?

Preparing for an interview—whether it’s ten minutes or all day in length—requires careful planning, research, familiarity with your equipment, and establishing a good rapport with the interviewee. Consider the following as part of your preparation:

Practice a couple of interviews before the real thing. Before you start recording, make at least one practice interview, preferably with someone you know, so that you are not afraid to make mistakes. This will give you practice in interview techniques and help you become confident in using your equipment. Practice setting up your equipment quickly and efficiently.
Take the time to experiment with different recording levels on your machine and change the distance of the microphone from the interviewee so that you know the optimum positions for recording. You aim to make recordings in which both the interviewee and the interviewer are audible, with little unwanted background or tape noise.

Tip: Take some time to watch or listen to how professional interviewers conduct interviews on TV and radio. One of my favorite interviewers is Terry Gross of Fresh Air f rom NPR.

6. How to Correct Oral History Recording Noise Problems

When you record an oral history interview, you want your recording to be clean and crisp. Sadly, from my own experience, I have had too many recordings that marginal at best because of simple things that have muffled and distort the voices. I want to share what I have learned about recording and address common noise problems that can affect your oral history interview quality.

Listed below are some common noise problems and suggestions for their solution.

Hiss. It could be your air conditioning or fluorescent lighting. It could also be caused by recording at too low of a level. Turn up your recording-level volume. It can also be read the instructions carefully.

Hum. The microphone may be too close to the machine and pick up the recorder’s mechanical noise. Move the microphone away from the machine. Alternatively, the machine and microphone may be too close to a power source or near another electrical appliance. If so, move the machine and microphone. The wiring on your machine or microphone may be faulty. Have them serviced if you think this is the problem.

Whistle. This could be that you are too close to a speaker. Sound is being transmitted, amplified, and coming from the speakers, albeit low.

Distortion . Having the level set too high when recording digitally can cause clipping, unwanted distortion of the audio. While distortion happens in analog recording, the artifacts caused by digital distortion can be more severe.

A popping noise when people say “p,” a whistle when they say “s,” or a sizzling noise when they say “t” occurs because either they are speaking too close to the microphone or the recording volume is too high. To fix these problems, change the microphone’s angle, move it further away, or turn down the recording level.
If you are recording someone with a high-pitched voice, you may need to adjust the recording volume.

Echo. This results from recording in a room with few soft furnishings and no carpet, such as a kitchen. Because there is little to absorb it, the sound bounces off the hard surfaces and is re-recorded.

You can get around this problem by moving the microphone closer to the interviewee, placing it on a cushion to absorb the echo, drawing the curtains, or moving to another room. A lapel microphone is helpful because the interviewee’s body will absorb a lot of echoes.

The effect will prevent broadcast-quality recording but is acceptable for research purposes.

Microphone cable noise. This is crackling or clicking noise on the tape caused by the movement of the microphone cable, which usually happens if you are holding the microphone.

It is best to use a microphone stand while recording. Alternatively, place the microphone on some magazines or a cushion. If you have to hold the microphone while recording, wrap the cable around your hand.

Cable noise sometimes occurs when you use a clip-on microphone and the interviewee fidgets with it. If this happens, explain politely that this will muffle their voice on the recording and ask them to stop. You may wish to give them something else to play with; a rubber band is an ideal toy for restless fingers, as it makes no noise.

Recording outside . You should avoid interviewing outside because it is almost impossible to control the recording of background noise.

If you cannot avoid recording outside, you will need some sort of windshield for the microphone, either a foam-rubber one you can buy or something like a handkerchief or a few layers of muslin secured with a rubber band.

Try to place the recorder on the ground or a wall, as the motor speed may vary if it is hanging from your shoulder, causing the sound to be distorted when you replay the tape.

Other sounds to avoid include rustling paper, clicking pens, fluorescent lights humming, clocks are ticking, traffic noise, caged birds, dogs barking, and open fires. To avoid the first two, use a pencil and write your questions and notes on a notecard rather than paper. There is little you can do about the others except notice them at the preliminary meeting and suggest recording the Interview in another room.

If you deliberately record some of the above effects when practicing with your equipment, you will hear how irritating they sound when the tape is played back. You will then realize why you need to make an audible recording for interviews, mainly if you collect for an archive.

7. Getting Ready for the Oral History Interview

Should I try to conduct the oral history interview in one setting?

Yes and no. Most of the oral history interviews I did to write my mom’s narrative lasted between 45 and 90 minutes.

When I interviewed my dad, I lived in a different state. I asked my dad if I could set up a series of telephone interviews that I could record. I chose to break up the Interview into 10 60- to 90-minute sessions over six weeks. Each talk focused on a different time or topic of his life. At the end of each Interview, I outlined what I wanted to cover in the following Interview to give my dad time to ponder what stories he wanted to share. During our interviews, he shared many personal stories that I had never heard. We laughed, cried, and shared many precious and tender moments.

Do you ask all the oral history questions on your list?

I try to make sure that I give the person I am interviewing a list of the questions before the interview, so they have time to think.

Did I ask my parents and others the questions exactly as they listed as I had them? No. I used the questions to begin our discussion and explore the stories they wanted to share. I would encourage you to make these questions your own and personalize them with the person you are interviewing. When you are ready to conduct an interview, have the questions to get the information you desire. Family conversations can go in many directions. When possible, with the permission of the person you are interviewing, record the Interview on audio or video.

Some of the best things you find out will be unexpected. Once you get started with the Interview, you are likely to be told some things you had not previously thought about, so it is essential to give the person you are recording plenty of space to tell you what they think matters. But you should not let the interview drift: it is your job to guide it. For this, you need an overall plan. Group the topics you want to cover logically. I like the chronological structure, such as talking through life stages in order. I have provided examples of questions organized by life stages to preview and download from the companion website.

What kind of last-minute preparations do you do for an oral history interview?

It’s now the day before your Interview. Take time to do a quick check of the material, equipment, and artifacts you will take with you to make sure you’re all set. A simple checklist might help make sure you have all the equipment you need. Ensure that everything is in good working order. Check that you know how to operate all your equipment correctly and fresh batteries or an adaptor. Put together a folder containing maps, additional questions, a notepad, pencils or pens, and interview agreements (if you are using them).

Review the questions you have developed and choose which would be most appropriate for each person and whether there are other questions you should be asking specifically about the family line the person belonged to (such as grandparents, times in which they lived and so on). Then send each person a letter or email with the following information:

Your name, address, email, and telephone number
A brief overview of the project
Questions you are going to ask
A request to share artifacts

8. How to Conduct an Oral History Interview

Up to now, I have talked about getting ready for the oral history interview. In this section, I will introduce how to conduct an oral history interview.

Where should I set up an in-person oral history interview?

Choose a quiet place. Try to pick a room that is not near a busy road. If you can, switch off radios and televisions, which can sometimes make it difficult to hear what someone is saying.

What should I say in the oral history introduction?

Before you begin the interview, explain to the person that not all of the information provided will be used in the family history. They will have an opportunity to see and approve it before being published or distributed to other family members. Explain that you will ask questions to prompt ideas, but they do not have to answer all the questions. If a question seems too personal, have them let you know and then move on to the next question; if they tell you something they later regret, have them tell you and let them know that you will exclude it from being used.

How should I set up my equipment and resources for the oral history interview?

It’s essential to make sure your equipment is set upright. Plug the recorder into the wall or put in the batteries. Switch it on. Put a battery in the microphone if it needs one, and plug it into the microphone jack socket. Turn the microphone on. Always check the microphone battery before going to an interview, and carry spare batteries at all times. I always put in fresh batteries for an interview. All you need to make you a believer is one experience where the recorder becomes slow or stopped, and you have to do the Interview over.

If using a tape recorder, make sure you have the tape in the right way, and remember that nothing will be recorded on the clear plastic lead-in at the beginning, so wait until it has wound through before you start talking. Alternatively, wind the lead-in tape through manually so that you can begin to record as soon as you press the “record” button.

Check that you have your recording volume adjusted to the correct level and your playback volume turned off. If you don’t, you may experience a shrieking noise called feedback. Check to see that you have copies of your questions and other pertinent material for the Interview. Place the microphone on the table or clip it to the interviewee. Press the “record” button or the “record” and “play” buttons, depending on your machine.

Remember that if your recorder has only a playback volume control, this does not control the recording level. You can adjust only by moving the microphone or speaking more loudly or softly.

If you have only one clip-on microphone, place it on your interviewee and speak up yourself. While it is more important to record their voice than yours, it is useless if the listener to the tape cannot hear your questions, making sure that your voice is also audible.

For a unidirectional tabletop microphone, the optimum position is for the two of you to speak over it at a 90-degree angle.

How close should the microphone be?

Generally, the closer the microphone is, the better the results will be. If possible, use a clip-on microphone and put it about nine inches from the person’s mouth. With a hand-held microphone, place it as near as possible but not on the same surface as the recorder nor on a hard surface, which gives poor sound quality.

Is there anything I should record before I start the oral history interview?

Before every interview, I will make sure that I provide some type of identification for the Interview. Why? Because it may be months before I will return to the recording to digest what was said. The following is a typical identification:

Interview with [Say the name and spell it. ](say—Susan Longhurst, spelled S-U-S-A-N, New word L-O-N-G-H-U-R-S-T) 25 September 2021. Interviewed by Author Schreiber. [State purpose of Interview]

What are the best practices for conducting the oral history interview?

As I shared earlier in the Guide for Conducting Oral History Interviews for Writing Narratives, I have conducted hundreds of interviews. The following are just important best practices that I incorporate in my interview:

Be reassuring. You are their guest, and if they are elderly, you may be the first person they have spoken to for several days. They will be as nervous and apprehensive as you are, so it is essential to be cordial and patient.

The Interview is not a conversation. The point of the Interview is to get the narrator to tell her story. Limit your remarks to a few pleasantries to break the ice, then brief questions to guide her along. It is not necessary to give her the details of your great-grandmother’s trip in a covered wagon to get her to tell you about her grandfather’s trip to California. Just say, “I understand your grandfather came through the Panama Canal to California for his immigration in 1925. What did he tell you about the trip?”

One-on-one is best. Interviews usually work out better if there is no one present but you and the interviewee. Sometimes two or more interviewers can be successfully recorded, but usually, each one of them would have been better alone.

If you are using interview agreements, ask your interviewee to review and sign the agreement form before starting the Interview.

Begin the Interview with straightforward questions. Start with questions that are not controversial; save the delicate questions, if there are any until you have become better acquainted. An excellent place to begin is with the interviewee’s youth and background. For example, ask questions about the following topics:

Date of birth and birthplace
Names of parents
Names of spouse and children
Names of siblings
Occupation, schooling

Ask questions that require a detailed answer. Early in the Interview, ask a question that requires a very detailed answer. After gaining the trust of the person you are interviewing, have some questions ready to signal to the person that you want details. Sometimes asking for a tour of a place, such as a house or place of work, helps gain much information. Ask follow-up questions with each “step” through the structure.

9. Use Open-Ended Questions in Oral History Interviews

Throughout the Interview, the questions that will give you the best information start with how, who, why, what, where, or when. Ask specific questions to get specific answers and open-ended ones to get longer, more detailed answers.

What type of questions should I ask in an oral history interview?

I am a firm believer in using open-ended questions. Open-ended questions allow people to tell stories they want to share. An example of open-ended questions are:

What did you like to do when you were a little girl?
What did you do on your first date?
Where do you like to go for a vacation?
Who is your favorite author, and why?
What some of your favorite experiences with your mom and dad?

As you develop your questions, use plain words and avoid suggesting the answers. Rather than saying, “I suppose you must have had a poor and unhappy childhood,” instead ask, “Can you describe your childhood?”

You will need some questions that encourage precise answers, such as “Where did you move to next?” But you also need questions that are open, inviting descriptions, comments, and opinions. Some examples of open questions include “How did you feel about that?” “What sort of person was he?” “Can you describe the house you lived in?” and “Why did you decide to change jobs?”

There are some points to cover in every Interview, such as date and place of birth and what their parents and their main jobs were.

I will address how to interview in later sections of this guide.

Where can I find oral history questions that have already been developed?

I have written a comprehensive 27 articles, 108 category series entitled “ 7,500-plus Questions About Life to Ask People When Writing Narratives .” The prompts and questions are provided to help you look at life from as many angles as possible when writing narratives about yourself, your family, and others.

Can you provide examples of oral history interview questions/outlines?

I like to break up questions into either period of life or by topic. Below is a sample outline of the interview questions I have used.

Married Life and Children

Children: • Names • Dates and places of birth • The health of the mother before and after • How father fared • Characteristics and differences • Talents and hobbies • Smart sayings and doings • Growing up (daily routine in-home) • Humorous episodes • Problems • Joys and sorrows • Accomplishments
Child-rearing psychology • Role of yourself, spouse, children in the home
Family traditions • Holidays • Birthdays • Graduation • Deer hunting • Funerals • Mother’s Day, Father’s Day • Weddings
Family vacations
Grandchildren • How many • Where they live • How their parents raised them • Things have done together • Trips to visit them and vice versa

Middle Age and Toward Retirement

General life pattern changing: • More time on hand • Financial situation • Different and new interests • New friends and associates • New hobbies (genealogy, golf, reading, music, art, books)
Health • In general • Operations • Allergies • Physical disabilities
Decided preferences- favorite foods and so on
Civic and political activities • Positions held • Services rendered • Politics • Political issues you were involved in • Memorable campaigns • Red Cross or other volunteer work • Church positions
New business ventures: Memorable travels
New and different homes
Retirement and its impact • Financial • Family • Leisure time • Volunteer activities

Personal Philosophy about Life in General

Your ideal-What personal trait do you admire most and why?
Regrets-If you had your life to live over again, what would you do differently?
One of the most important days of your life and why?
The greatest joy and most enormous sorrow
The biggest lesson in life you found to be true
The most important lesson, message, or advice you’ve learned that you would like passed on for others to profit by
One word on how to live successfully
Your secret for living a long, healthy, happy, prosperous life
Does the Lord answer prayers?
How you would like to be remembered
Funeral arrangements-music, speaker, ceremony, special instructions, headstone inscriptions, selection of burial clothes
Unique words of counsel to: • Children • Grandchildren • Other families

10. How to Get the Best Answers in Oral History Interviews

In an oral history interview, there is an art to asking questions. It’s more than simply asking a question and then waiting for an answer. I found this out when I used the same set of questions to 5 siblings from the same family in 5 different interviews. For example, one of my questions was, “What was it like growing up in your hometown.” One sibling shared how wonderful it had been and all the activities and people who were part of their life. The other sibling, paused and with tears, shared how ugly the city had been for them because of the teasing, bullying, and living in the shadow of an older sibling.

What are some best practices for conducting oral history interviews?

As the interviewer, you are the one who is asking the questions. You are the one who asked for the Interview. I can assure you that not every Interview is going to be great. It is just the nature of interviewing. However, there a few best practices for conducting oral histories and asking questions that help you get the best answers possible. The following are some of the most important lessons I have learned.

Avoid simple yes-or-no questions. For example, ask, “What were your living conditions like?” rather than “Did you have cramped living conditions?” Ask open-ended questions if you want a description or comment: “What can you remember of the trip over to England?” or “Can you tell me more about what swimming in the Great Salt Lake was like?” Don’t ask more than one question at a time.

Get past stereotypes and generalizations. This is one of the most challenging aspects of interviewing people. As well as a mere descriptive retelling of events, try to explore motives and feelings with questions like “Why?” and “How did you feel?”

Ask for concrete illustrations and examples. If someone says, for example, “Aunt Marjorie was a great cook,” then ask, “Could you give me an example of that?” This adds depth and illustration to the material you are collecting; it also requires the interviewee to be specific and qualify sweeping statements.

Use “reversals” to gain more in-depth information. As you interview, the interviewee will give general sentences, such as, “I thought it was a great experience,” or “Mom made a great stew,” or “That was a trying time.” Reversals are statements that say, “please tell me more” It keeps the flow of the conversation moving. The following are examples of reversals:

Sometimes you will need to use reversals multiple times for the same questions. I have learned that there is a rule of three for reversals. This means that you should use no more than two reversals. When an interviewee gives the third answer after the second reversal, that is as good as your answer is going to get. For example, consider the following exchange:

You are not the one being interviewed. You are there to find out information. You aim to get them to talk, not to talk to yourself. Don’t tell them the answer to a question: “So you milked the cows by hand?” Allow them to explain how they did things. Listen carefully and maintain good eye contact. Don’t contradict and don’t get into a heated debate. Respond positively—body language like nodding and smiling is much better than “ers” and “ums” and “really.” Try not to say “yes” or make encouraging noises, and don’t wriggle about or shuffle your papers.

Good interviewers don’t shine. Don’t use the Interview to show off your knowledge, vocabulary, charm, or other abilities. Good interviewers do not shine; only their interviews do.

Be sensitive and always respect confidences. Some topics may be sensitive or very personal. Be respectful of the interviewee’s feelings and sense of privacy.

Don’t interrupt. Be relaxed, unhurried, and sympathetic. Make sure that your interviewee has finished answering before you ask the next question. Don’t interrupt a good story because you have thought of a question or because the interviewee is straying from the planned outline. If the information is pertinent, let her go on, but jot down your questions on your notepad so you will remember to ask it later. Do not fill every pause they take. Most people will need to think about answers, especially if they remember things that happened long ago. Don’t worry if you seem to be straying from your prepared questions, as long as the information you are hearing is relevant. Listen carefully and maintain good eye contact.

How to manage a stray. It’s not uncommon for an interviewee to stray on a subject that is not pertinent to the discussion. Common areas to stray include family medical problems and what family children are doing. Try to pull the interviewee back as quickly as possible. For example, say, “Before we move on, I’d like to find out how the closing of the mine in 1935 affected your family’s finances. Do you remember that?” It is often problematic for a narrator to describe people. An easy way to begin is to ask her to describe the person’s appearance. From there, the narrator is more likely to move into character description.

Use your paper for notes . Jot down names or other details that you need to clarify before leaving. If the interviewee tells a story and you think of another question, don’t interrupt; jot down your thought and come back to it. Don’t sit and transcribe all of the interviewee’s answers.

Keep your questions short and precise. If your interviewee doesn’t understand what you’re asking, repeat the question or rephrase it.

Don’t expect people to remember dates. Most people won’t remember exact dates. Instead, ask, “How old were you then?” or “Was that before or after [Regensburg or Munich]?” If you have done your background research well enough, the answer should pinpoint the year.

What to do when stories are different than what you’ve heard. What do you do when the interviewee tells a story that is contrary to what you have heard? Tactfully point out to the interviewee that there is a different account of what she is describing. Start by saying, “I have heard . . .” or “I have read . . .” This is not to challenge her account but rather an opportunity for her to bring up further evidence to refute the opposing view, explain how that view got established, or temper what she has already said. If done skillfully, some of your best information can come from this juxtaposition of differing accounts.

When in doubt, don’t. If you feel awkward or uncomfortable in asking for sensitive or potentially damaging information, don’t ask. Your hesitation reminds you that there is a human being with feelings sitting right across from you. Details are important, but maintaining respect for privacy is even more critical. Sometimes, interviewees simply need a moment to compose themselves for sensitive discussions, or they may be evaluating your behavior as a decision-making factor in whether to talk openly about specific individuals or events.

Try to avoid “off the record” information . At times the interviewee will ask you to turn off the tape recorder while telling a good story. Ask the person to let you record the whole thing and promise that you will erase that portion if he asks you to after further consideration. You may have to erase it later, or he may not tell you the story at all, but once you allow “off the record” stories, he may continue with more and more, and you will end up with almost no recorded interview at all. “Off the record” information is only helpful if you are researching a subject, and this is the only way you can get the information. It has no value if your purpose is to collect information for later use by other researchers.

Ask interviewees to spell out measurements . “It was about this wide” will mean nothing to a listener. Try to get the interviewee to give a verbal estimate of size—”Oh, about three feet”—or give it yourself: “Is that about three feet?”

Don’t challenge accounts you think might be inaccurate . Try to develop as much information as possible that can be used by later researchers in establishing what probably happened. Your interviewee may be telling you quite accurately what he saw or heard. As Walter Lord explained when describing his interviews with survivors of the Titanic, “Every lady I interviewed had left the sinking ship in the last lifeboat. As I later found out from studying the placement of the lifeboats, no group of lifeboats was given another, and each lady probably was in the last lifeboat she could see leaving the ship.”

When a negative is better than a positive approach. Ask about the negative aspects of a situation. For example, in asking about a person, do not begin with a glowing description. “I know that Uncle Larry was a very generous and wise person. Did you find him so?” Few interviewees will quarrel with a statement like that even though they may have found the uncle a disagreeable person. You will get a more lively answer if you start in the negative. “Despite Uncle Larry’s reputation for good works, I hear he was a tough man for his employees to get along with.” If your interviewee admired Uncle Larry greatly, she would spring to his defense with an apt illustration of why your statement is wrong. If she did find him hard to get along with, your remark has given her a chance to illustrate some of the uncle’s more unpleasant characteristics.

Keep the recorder running. While you are recording, try not to turn off the recorder. You will not want to keep it running if you are interrupted by something such as a telephone call, but leave it running during pauses while people think. It is better to waste a little tape on irrelevant material than call attention to the tape recorder by a constant on-off operation. For this reason, I do not recommend the stop-start switches available on some microphones. If your mic has such a switch, tape it to the “on” position—then forget it.

The last two questions you should ask. In concluding the interview, ask, “Is there anything I haven’t asked that you think I should know?” and “Do you have any questions for me?”

Say thank you. At the end of an interview, it is helpful to say thank you while still recording so that listeners know the Interview has finished.

What should I do after an oral history interview is completed?

After the Interview is finished, don’t rush away. Take time to thank them and talk about yourself. It is also the time to discuss the copyright and clearance form (if you’re choosing to use one) and have them sign the form. You will often be shown some interesting old photographs or documents. Before you leave, provide an address, email and phone number where you can be contacted and make clear whether you will be returning for a follow-up interview or not. This can avert any unnecessary worry. Remember that your visitors will often significantly impact someone who has perhaps never told anyone their memories before.

When you arrive home, write a letter of thanks to the interviewee and enclose a copy of the agreement form (if used) for their records. Think critically about your Interview. Consider what was good about it and what could be improved next time. Prepare a listing of proper nouns, places, and jargon words or phrases for each interview tape. Examine an authoritative source to double-check spellings.

Are there any copyright issues related to oral history interviews?

I have not had issues regarding copyright in any of the hundreds of interviews I have conducted over the years. I always tell people to interview that the recording will only help me tell the story and share a draft of the story to review, make comments, and edit as needed. I will have them sign off that they have reviewed the narrative. I will always incorporate their comments and edits.

That said, it is essential to be aware of copyright regarding oral history interviews. Copyright issues may become a factor, even if you’re conducting an informal interview with your immediate family. According to the Oral History Association ,

“Anyone who creates an original work or unique intellectual property has exclusive rights to use, distribute, and profit from that work. Laws regarding copyright will vary depending on an individual’s country or municipality. In most cases, a narrators’ oral history interviews are considered their intellectual property, for which they are either the legal owner or co-owner of copyright. Others who wish to use, distribute, or profit from the oral history interview will first need to obtain the narrator’s explicit permission, license, or copyright. For more copyright information, visit the US Copyright Office . “

Legally, both the interviewer and interviewee share the copyright to an oral history interview (an exception occurs when an interviewer is conducting the Interview as a work for hire). While copyright may never come into question, you should still protect yourself from potential copyright infringement by having both the interviewer and the interviewee sign release forms at the recording time. To learn more, do a Google search on “Oral History Copyright.”

Is there a form I can use for an Oral History copyright agreement?

Below is a sample of an oral history interview agreement that I have used over the years. To find copies of other forms, do a Google Search on “Oral History Copyright Forms.”

Oral History Interview Agreement This interview Agreement is made and entered into this

Date: ______________by and between ______________hereinafter called “Interviewer” and ____________________, hereinafter called “Interviewee.”

Interviewee agrees to participate in a recorded interview, commencing on or about ______________, with Interviewer in association with his or her research on ______________.

This Agreement relates to any materials originating from the interviews, namely the tape recordings of the interviews and any written materials, including but not limited to transcripts or other finding aids prepared from the tapes. In consideration of the mutual covenants, conditions, and terms set forth below, the parties at this moment agree as follows:

Interviewee irrevocably assigns to Interviewer all his or her copyright, title, and interest in this work.

By virtue of this assignment, the Interviewer will have the right to use the Interview for research, educational, and other purposes, including print and electronic reproduction.

The interviewee acknowledges that he or she will receive no remuneration or compensation for either his or her participation in the Interview or for the rights assigned hereunder.

Interviewee understands and agrees that Interviewer may donate any and all materials to ______________upon completion of his or her research.

Interviewer agrees to honor any reasonable interviewee restrictions on the use of the Interview, if any, for the time specified below, as follows:

Interviewer and Interviewee have executed this Agreement on the date first written above.

INTERVIEWEE _____________________________________ (Signature) _____________________________________ (Typed or Printed Name) _____________________________________ _____________________________________ (Address)

Date_________________________________

INTERVIEWER _____________________________________ (Signature) _____________________________________ (Typed or Printed Name) _____________________________________

_____________________________________ (Address)

11. How to Take Care of Recorded Oral History Interview

Most of the people I interviewed in the years after my mother’s death are now gone. However, I have just a little bit of them preserved in an interview recorded in a digital and video recording.

Every life is important and unique. Think about it. You have just recorded the thoughts, feelings and life stories of an individual or group. Your Interview is about the people known, the places visited, the decisions made, the opportunities lost or gained, and the spiritual, physical, and mental vitality and folly. The following are a few of my best practices for preserving the recorded Interview.

What should I do with an oral history interview digital recording?

Once I have the digital recording completed of the oral history interview, I will save it as a WAV file. This is my master copy exactly as you recorded it. NEVER EVER edit the original recording. Make a copy of the file to use for any editing that needs to be done. I will usually make copies as MP3 files. To preserve material for the future, you need to use standard formats that computer systems recognize. Save the original as a .wav file or an AIFF, not as an MP3. WAV (or WAVE), short for Waveform audio format. Both WAVs and AIFFs are compatible with Windows and Macintosh operating systems. WAV and AIFF file formats take up considerably more space than MP3.

What should I do with an oral history interview taped recording?

If you are using a cassette or mini-cassette recorder to record the Interview, seriously consider digitizing the Interview. Digitizing the Interview will allow you to do the following:

Back up a master copy of the Interview.
Use audio editing software (like Audacity) to cut your favorite stories from the interviews and use them to augment family histories that are placed online.
Cut out problems like phones ringing, dogs barking, or small talk.
Easily transcribe and edit the Interview.
Easily share interviews. For example, I recently interviewed a person for personal history. Shortly following the Interview, the individual passed away. This was the only voice recording the family had of the person. It was easy to make an MP3 file of the recording and share it with the family.

Save cassette tapes . If you use a cassette or mini-cassette recorder, make sure that you make a copy before using them. You will then have an original copy, which should be put aside and used for no purpose other than making further copies. When you wind and rewind your tapes, especially if you are transcribing them, this can stretch the tape and result in distorted sound. Snap out the plastic tabs on the top of the cassette to prevent the tapes from being recorded over. Do not reuse the tape on other interviews. Place it in an envelope and store it in a safe place. I write on the envelope the date and who was interviewed. I also include the equipment used, date, place, time, and any additional notes.

Should I create a transcript of every oral history digital recording?

My emphatic answer is YES. A transcript or transcription is a word-for-word written copy of an interview. Transcribing an interview provides several significant benefits, including that there is no misunderstanding of what was said in an interview.

You can see where clarification is needed for the Interview, and you can go back to the interviewee for clarification as needed.
Creating a word processing document allows you to search for keywords and cut and paste sections of interviews with other relevant information under topics you have designated for your life history.
Transcription saves the wear-and-tear of the audiotapes and videocassettes, provides easy searching on a keyword in word processing, provides an easily accessible reference substitute for the recordings, and requires no special playback equipment or listening booth.
Transcription is another form of backup for digital recording.

What is the best way to transcribe an oral history interview?

For years the only way to transcribe an Interview was to listen to a recording and type the conversation into a word processor like Word or Google docs. Today there some excellent and easy options. The following are some examples.

First option-Otter.ai. I have been using an online service called Otter.ai . Otter.ai is a Los Altos, California-based technology company that develops speech-to-text transcription and translation applications using artificial intelligence and machine learning. Its software, called Otter, shows captions for live speakers and generates written transcriptions of the speeches.

I upload an mp3 version of my oral history interview, and in less than a half-hour, I have a complete transcript of the Interview. The transcript is 95-plus percent accurate. You the ability to listen to the recording, correct text and more. I loved this service. It costs me about $10 a month. Stay for a month or longer. There are not contracts.

Second option-Microsoft Word Transcribe. The transcribe feature converts speech to a text transcript with each speaker individually separated. After your conversation, Interview, or meeting, you can revisit parts of the recording by playing back the timestamped audio and edit the transcription to make corrections. You can save the full transcript as a Word document or insert snippets of it into existing documents.

Google also has a text-to-speech option. At the time of this writing, there was a cost. Honestly, I was so pleased with Otter.ai, that I did not look too close at Google.

The third option-Dragon Naturally Speaking. Use the software Dragon Naturally listens to your voice and types the words out. Used most often by healthcare, legal and law enforcement, Dragon Naturally Speaking requires the user to record their voice imprint. This voice imprint is then used to recognize words spoken by this person. I have used the software a lot. I would listen to the interview recording in one ear and speak into the microphone with Dragon Naturally Speaking software open. It took me a day or two to get acquainted without using the software. But once I did, I could transcribe a 1-hour recording in about 2.5 hours. If you have someone who wants to tell their story, like a parent, this might be the way to go.

Fourth option-Listen and type. This is simply listening and typing what you hear in a word processor. I type around 65 words a minute. For every hour recording, it takes me 4-plus hours to transcribe. I would seriously consider Options 1-3.

How complete should the oral history interview transcript be?

The purpose of the transcript is to provide you access to critical details from the Interview. On average, I will transcribe from 40 to 70 percent of the Interview. I will focus on the question and the key answers to the questions. In my transcription, I will list the name of the interviewee, equipment used, date, time, and place of the Interview, and key highlights of the Interview.

There are portions of the Interview where “abstracting” is a great choice. Abstracting is where you will briefly tell what is being discussed and then insert word-for-word transcription as needed. For example, “Recalls where he was when WWII was declared. Describes atmosphere at home. [Now transcribe detailed explanation of feelings and so forth.].”

Use words like explains, describes, mentions, recounts, and recalls to give the researcher an idea of what is included and how much material there is on a particular topic. “Mentions how traveled to school,” for example, means that there is less information than if you had written, “Describes how traveled to school.” It is essential to choose your words carefully.

Tips for Creating and Editing Transcripts. The following are few things that I have done to improve and get the most out of oral history interview transcriptions.

Listen to about ten minutes of the Interview before starting to transcribe.
Transcribe what you hear. Do not put words or phrases into the interviewee’s mouth, even if what they say is awkward or ungrammatical. Do not change the word order.
Identify Transcriber . At the beginning of the transcript, the identity who transcribed the tape edited the transcript, and the date(s) these tasks were done.
Highlight quotes. Highlight the best potential quotes in another color (such as blue, red) by using the highlighting icon on the formatting toolbar or by highlighting with a highlighter on the hard copy. It will save you time later on.
Title page. Include a title page with the name of the interviewee, the interviewer, and the date of the Interview. State clearly whether restrictions have been placed on any parts of the Interview.
Formatting . When formatting the text on the page, use one-inch margins on each side of the paper, number the pages, and double-space the text.
Identify the speaker. Identify all speakers at the start of their comments by typing their name in bolded capital letters, followed by a colon—for example, SMITH:
Verbatim transcript. Create a verbatim transcript, but omit such expressions as “um” or “ah.” Include expressions such as “um hum” or “huh- huh” when used to mean “yes” or “no” in response to specific questions.
Transcribe as you hear it . Do not revise the narrator’s words to force them into standard written prose. Leave any sentence fragments, run-on sentences, and incorrect grammar untouched. Commas and dashes may be used to reflect pauses in the spoken words.
Punctuate. Punctuate so that the transcript makes sense of the words as they were spoken. Be consistent in your punctuation; don’t, for example, indicate a pause by a dash (—) in some transcripts and three dots ( . . .) in others.
Use of periods. Put in periods at what seem to be natural sentence breaks. Transcripts with little punctuation are very difficult to read, let alone understand.
Managing changes. If changes are made, clearly indicate when and how the transcript differs from the original tape recording.
Use “stage directions” with care . Some may be useful to help understand what is happening; for example, “[reading from newspaper]” or “[interruption for telephone call]” may be helpful. Still, those making interpretations—such as “[laughs sarcastically] “—should be used with caution.
Contractions. Include word contractions as they occur, such as “don’t” and “wouldn’t.”
Question marks. Place a question mark before and after a word or phrase to indicate any uncertainty about it, such as “?destroyed?.”
Identifying garbled sections. Identify garbled or inaudible portions of the tape. If one word is inaudible, indicate the gap with an underscore ( ).
Inaudible sections. When multiple words are inaudible, insert ” +” or estimate the elapsed time using a time indicator, such as ” . . ..(3 seconds).”
When done. When you are satisfied that what is on the page accurately reflects what is on the tape, type a final copy and assemble the interview file.
If you are transcribing cassette tapes….
Transcribing setup. It will help if you have special transcribing equipment, such as good headphones and a transcribing machine that foot pedals can operate so you can stop and rewind the tape during playback, freeing the hands for transcribing. They also play at variable speeds to enable muffled or garbled portions to be intelligible. Using an ordinary recorder will take longer. If you have access to a personal computer, it will be easier to correct mistakes, although making the first draft by hand works quite well. Manufacturers of transcribers include Sony and Panasonic, among others.
Sides of Tape. Indicate the end of a side of the tape in capital letters—END OF SIDE ONE, TAPE ONE; BEGIN SIDE TWO, TAPE ONE.

12. Documenting Oral History Interview and Narrative

As the individual writing the individual narrative, it becomes your responsibility to collect complete, accurate, and reliable documentation, especially if you intend to incorporate the information into a book or article for distribution.

If pieces of written and oral information contradict each other, then you must go deeper to determine which is more accurate, unless contradiction is the key to the issue.

Sometimes, interviewers will recall events in the form of past conversations (“she said to me . . .”). People reconstruct dialogue not only in oral histories but also in letters and diaries, and the results can be treacherous for those wanting to publish the “truth.” When you, as the researcher and interviewer, hear such dialogue, measure the conversation with what they already know (or don’t know) about the subject and even the interviewee. Most often, you are going to need to do further research.

How do you sort out hearsay?

The interview is the cornerstone to writing narratives, yet it’s an opinion, a perception that is presented as fact. As the narrative writer, I understand the importance of documentation and additional research to confirm and effectively tell the story.

How can I add background information to the narrative?

During the research and writing of your narrative, you will have the opportunity to expand and provide background to help make the narrative richer and more inviting. Depending on your needs, consider the following:

Public library. Take advantage of your public library and libraries in the areas where your ancestors lived. Many libraries have extensive departments with staff knowledgeable about the history and people of the region or state.
Search genealogy and historical associations in the locales you are researching. These organizations have valuable records and dedicated people who are familiar with the history of the region.
Use online resources—archives of source documents, places to search for ancestral information, discussion forums to share with other researchers, and blogs that offer advice, links to other resources, and opportunities to make contacts.
Be as eager to share information as you are to obtain it. You may have a piece of information that fills a gap for someone else.
Gather enough information to work with before you start writing, but expect to continue researching throughout the writing process.

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This is fantastic. I always want to glean everything from my grandparents before its too late but I never know what to ask.

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Oral History Toolkit

Oral History Toolkit Introduction

Background Research

Interview equipment, developing interview questions, legal and ethical considerations.

Stage 2: The Interview
Stage 3: Post-Interview

Preparing for an oral history interview is perhaps the most important step in the oral history process. Once you have decided upon a topic or event in history, you will need to locate a narrator (also called the interviewee) whose experiences are relevant to your topic. Quality research can create rapport with the narrator and hone interview questions that inspire storytelling. You should read both primary and secondary sources related to the era, topic, or theme of your interview.

According to the Oral History Association, "Oral history interviews seek an in-depth account of personal experience and reflections, with sufficient time allowed for the narrators to give their story the fullness they desire. The content of oral history interviews is grounded in reflections on the past as opposed to commentary on purely contemporary events" ( Oral History Association ).

Preparing for an oral history interview typically involves the following components, which are explained in more detail in the sections below:

Background research of both the narrator and the event or topic
Reserve or obtain interview equipment
Develop a set of questions to guide or frame the interview
Consider the legal and ethical implications of the oral history project

To be prepared for the interview, conduct careful research that is both subject-focused and that contextualizes your narrator within the circumstances of the event or time period you are studying. To begin with you will need to know what you are trying to learn. Come up with a concise sentence or two that summarizes your project and that will help you explain to potential narrators what you hope to accomplish.

Doing background research requires considering information that already exists on your research topic. For example, if you wanted to learn more about a politician, you might want to consider campaign literature (including pins, brochures, posters, and so on); political documents; and perhaps other biographies or interviews that already exist. Likewise, if your focus is on a particular event or time period in history, you will want to consult newspaper accounts, perhaps economic data, any records pertaining to the event you are studying. As another example, if you are using oral history to collect and preserve your family history, you may want to draw from scrapbooks, photographs, family heirlooms, diaries, etc.

Many primary sources and archived interviews are available at The Claremont Colleges Library . See the "Resources" tab on the navigation menu for links to the oral history collections at the Honnold/Mudd Special Collections and links to the oral history archives of The Claremont Colleges Digital Library.

Questions that can help you prepare for your interview may include:

Why am I interviewing this person?
What do I hope to learn?
What events or topics do I want to document?
How will I use the interview data to illustrate a point or further my argument?

An important step in the interview process is a non-recorded pre-interview meeting. This step occurs after you have found an appropriate narrator who has agreed to work with you. The purpose of the non-recorded pre-interview meeting is to establish report and to learn as much as you can before the formal interview. Talking informally with your narrator can help you decide what questions to ask during the interview and provides the narrator with important information about the interview purpose and process. This pre-interview meeting can be done over the phone or email, but in person is best. Things you will want to let your interviewee know before the interview might include:

The purpose of the interview
How you will use the interview data
Approximate length of interview and where you will meet (this is a good time to schedule the interview)
Where the interview and accompanying materials will be stored and who will have access to these records.

Renting Equipment: If you are using equipment from your in department or institution, be sure to reserve it early enough to use it twice: once to become familiar with the equipment, and then for the interview itself. Equipment rental tends to be for a very short period (1 day or a certain number of hours) and the equipment will be in great demand if you are doing your oral history project as a class assignment.

Choosing the appropriate equipment for your purpose and budget is also an important part of preparing for your interview. Considerations should not only include your purposes, but also the long-range issues of access and preservation.

Basic Equipment Checklist:

digital recorder
1 or 2 external microphones
A minimum of 4GB storage device

Digital Recorders : The Claremont Colleges Library requires that audio recordings be recorded in .WAV file format with a minimum quality of 44.1khz 16 bit (CD quality) . The better the quality, the better the recording will be for archival purposes. Thus, in considering the recording equipment you can rent, use, or purchase, be sure the recorder will be durable and reliable. It is possible to use your computer or mobile device, but you want to ensure that recordings are of sufficient quality and format.

Note : If you are thinking about using a video recording device, you may want to refer to Oral History in the Digital Age (see the "Ask Doug" resource).

External Microphones : Good microphones are necessary for clear sound. Lapel microphones are ideal as they can eliminate much of the background noises. You may wish to have one for your interviewee and one for yourself, or you may wish to use one microphone positioned evenly between you both during the interview. Even if you use your computer or mobile device, you will want to use an external mic.

Minimum of 4GB Storage : Recording at the highest quality settings of your recorder will take up more file space, so be sure to have enough storage. As an example, 4GB of storage will hold approximately 2 - 6 hours of interview depending on your quality settings. Create multiple back-up copies and store them in different locations (i.e. cloud storage, a thumb drive, and your computer hard drive).

► Be sure to familiarize yourself with your equipment before the interview!

There are a number of excellent resources to aid you in developing your questions, some of which are posted on the "Resources" page of this guide. Briefly, you will want to develop two types of questions: those that obtain factual information about your narrator/interviewee, and questions that will assist your narrator/interviewee in remembering particular events or circumstances.

Biographical Data : Although you likely obtained much of the biographical information about your narrator/interviewee during the pre-interview meeting, it is standard practice to ask some of these questions at the beginning so that your narrator/interviewee can get comfortable with the interview process and equipment. Remember to be sensitive to your narrator's needs; some people are not comfortable disclosing age or other personal information.

► You may be interested in the Narrator/Interviewer Fact Form and/or a more detailed Life Story Form.

Open Questions : As the interview progresses your questions may become more concrete and may address more sensitive information. These typically include open questions—meaning that the questions cannot be answered by simply yes or no, or other finite response. Open questions probe for information and seek to trigger stories and memories from your narrator/interviewee. Examples include the typical journalistic what, where, when, who, and how. But they will also include phrases such as:

Questions are not meant to be followed rigidly; they are a jumping off point for your narrator's stories and memories. Part of the value of Oral Histories is that stories often wander off topic to memories we would not have known to ask about and that greatly enrich the overall project.

Note: Objects and photographs can also help to trigger memories, so invite your narrator/interviewee to bring any materials that might help them to explain or describe events. Your narrator/interviewee may even wish to donate such materials to be part of the oral history archive established for your project.

Beginning in 2018, the federal guidelines for Institutional Review Boards (IRB) updated "scholarly and journalistic pursuits" as no longer needing IRB approval. The tab for "IRB" listed on the navigation menu provides links and policy overviews. It is a good idea to become familiar with campus and departmental policies. Other legal and ethical considerations may involve a number of aspects of your project, including:

meeting locations
personal boundaries
emotional reactions
anonymity requests
dissemination and access

Location : Meeting locations should be safe and comfortable for both parties. You may be able to reserve a conference or other room at your institution or your interviewee may wish to interview at his or her home. Wherever you meet, it's a good idea to be sure someone else knows your location.

Boundaries : Respecting narrator rights and boundaries means understanding that your interviewee may choose to withhold information, may change his or her mind about the interview or even allowing dissemination after they have agreed to do so. You will need to be prepared to honor any requests your narrator makes, including asking to remain anonymous . Remeber to honor these requests in the transcript and write-up of the interview as well.

Emotion : It is not unusual for you or the narrator to be emotionally moved by the interviewee's stories and memories. If appropriate, temporarily stop the recording and allow your interviewee to regain composure. Perhaps your narrator will want a change of subject. Check in with your narrator and ensure that he or she is comfortable continuing with the interview at that time. You may need to reschedule.

Dissemination and Access: Because one of the primary objectives of oral history is making the information available to the public, you will want discuss this aspect of the project with your interviewee beforehand, and again during the interview. The narrator retains all rights to their interviews until and unless they transfer those rights. You may wish to offer your narrator an opportunity to discuss your transcript and/or project draft and they may wish to receive a copy of your final project.

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: Dec 19, 2023 4:10 PM
URL: https://libguides.libraries.claremont.edu/ohtoolkit

Research Guides

Oral History Project Guide: The Interview

Designing the Project

The Interview

After the Interview
Rights Management
Technical Considerations
Project Lifecycle

Background Research

Prepare for the interview by:

draft a short biographical introduction of your interview subject;
do background research on the time period or event you want to explore;
make a list of open ended questions to ask during the interview;
select the location of the interview;
prepare any recording devices you plan to use for the interview;
ensure you have enough storage space for the recording;
if using batteries, take extras in case you need them;
have a backup plan if something goes wrong.

Release Forms

Everyone who participates in the interview has an investment in the project: the interviewer, the interviewee, sound or audio managers or assistants, and others who help complete the project. It is very important to ensure everyone understands their role in the project. A release form, signed by all parties, clarifies the responsibility and rights of everyone involved. Such a form may include:

the name and contact information of the person signing the form;
a description of the project;
any uses which will be made of the interview;
any restrictions on the use of project material;
copyright assignment (to the interviewer, or reserved by the interviewee);
and any compensation to be received, if any.

Please see this sample release form used for the Vandy Goes to War project.

set a time and place for the interview ( a quiet room if possible);
arrange transportation or parking space for your interview subject and anyone who may accompany them;
share a copy of the questions you will ask and ask if there's anything you should add to the list;
ask for a list of people names and/or place names that will be discussed and verify correct spellings;
schedule audio or videographer assistants, if applicable;
if there are any personal copies of photographs, records, or memorabilia that the interviewee would like to share with the project, make arrangements to have them copied or digitized in time for the interview.

Conducting the Interview

During the interview:

ask the participant to sign the project release form, and provide them with a copy for their records;
begin the interview with a brief introduction of the person and the subject of the interview;
if the interview is lengthy consider splitting it into 2 or 3 parts-- each with a specific focus;
Take us through the day of January 17, 1979;
Who were the key people in the Peabody merger and how are they remembered?
What was it like at Vanderbilt when the war (World War II) ended? What kind of mood and atmosphere was there?
stop at intervals to ask if the participants (including any assistants) would like to take a break;
be sure to thank all participants for contributing to the project as you wind up.
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Next: After the Interview >>
Last Updated: Jul 31, 2023 1:10 PM
URL: https://researchguides.library.vanderbilt.edu/oralhistory

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The Oxford Handbook of Qualitative Research (2nd edn)

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16 Oral History Interviewing with Purpose and Critical Awareness

Valerie J. Janesick University of South Florida Tampa, FL, USA

Published: 02 September 2020
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Oral history interviewing is a viable qualitative research orientation for many qualitative researchers in various disciplines. Oral history is the collection of stories, statements, and reminiscences of a person or persons who have firsthand knowledge of any number of experiences. It offers qualitative researchers a way to capture the lived experiences of participants. The techniques of oral history are those of the qualitative researcher, including interviews, document analysis, photographs, and video. The current digital era offers many opportunities to address critical issues and possibilities for the oral historian as qualitative researcher. Major issues that emerge are those of understanding the purpose of power structures in participants’ lives, arts-based approaches to oral history aware of transdisciplinarity, and developing critical consciousness or awareness of one’s place in societal structures. Possibilities are endless in terms of using digital techniques and arts-based techniques for data presentation, data analysis, and dissemination. The power of oral history is the power of storytelling. By using current technology and working in a transdisciplinary context, oral history may now be more readily accessible and available to a wider population, thus moving toward a critical social consciousness.

There is no greater agony than bearing an untold story inside you. —Maya Angelou

Introduction

Many think of oral history as one recorded interview stored in a library or an archive and left on a shelf. In this chapter, I propose an active view of oral history that appreciates the techniques of the past and moves into the digital era with a critical eye toward analysis and interpretation of the oral history interview or set of interviews. In other words, we should consider moving beyond the oral history interview while incorporating it into any given narrative. In addition to interviews and besides using documents in any given report, this chapter will treat the use of current technologies to augment the storytelling of any oral history project. This is with an eye to understanding the power structures of our participants’ situations and to develop a critical awareness in ourselves as researchers and in our participants as active agents. Current writers have awakened us to using a transdisciplinary approach to qualitative research in general, and that will be a major issue for consideration here. I use the metaphor of choreography to describe and explain the current state of oral history with an eye to the future and punctuate the value of arts-based approaches to oral history. The strength of oral history is that it offers a firsthand view of the lived experience of any number of participants in any moment of history. Oral history is a powerful technique for qualitative researchers. It is powerful because it tells a story of one or more person’s lives. Furthermore, it renders a historical record for future generations. From these unique cases, we can learn more about what it means to be part of the human condition.

Oral history enables us to capture lived experience. In recent memory we have a huge database of examples of completed oral histories following the disasters of September 11, 2001, and Hurricane Katrina, all of which are available online. These examples are also in print and on the Web, with free and open access. This is another admirable quality of oral history. Oral history is for the most part openly accessible in digital form, written text, and visual text. For more information, visit http://www.oralhistory.org/ .

This site will lead you to journals, books, articles, blogs, and social media devoted to oral histories and the description of the history and process of oral history. You do not have to pay to read an oral history; you may visit any library and view completed oral histories, and most recently, you may view on the World Wide Web 2.0 many classic and new examples of oral history. Oral history archives are available online from virtually every corner of the earth. In this section of the handbook I discuss the issues and possibilities facing oral history in this digital era through the metaphor of choreography, beginning with the basics of the oral history interview through the analysis, interpretation, and usefulness of oral history, moving toward a critical consciousness. Furthermore, in this digital era, free and moderately priced software is available to make interviewing and transcribing user-friendly. Finally, future directions and possibilities in oral history will be discussed, specifically, oral history as a critical awareness project, the value of transdisciplinarity approaches, and the value of arts-based approaches to oral history.

The Choreography of Oral History

There are many resources on the Web and in print defining oral history and describing basic techniques of interviewing. Here, I use the term oral history as the collection of stories and reminiscences of those persons who have firsthand knowledge of any number of experiences (Janesick, 2010 ). I use this definition because it casts a wide net, is inclusive, and is moving toward oral history as a social justice project. The heart and soul of oral history is to find the testimony of someone with a story to tell. In this chapter, the term testimony is used in its generic meaning, giving testimony, oral or written, as a firsthand authentication of any event. Oral history and testimony provide us with an avenue of thick description, analysis, and interpretation of people’s lives through probing the past to understand the present. The postmodern and interpretive appreciation of the study of people and their stories, those stories from persons generally on the outside or periphery of society, offer a unique opportunity to view oral history as a social justice project (Janesick, 2007 ). For example, women, minorities, and any person or group categorized as the Other may find a benefit from recording their stories, not just for themselves but also for future generations. As a social justice record is kept, the stories cannot be lost. While oral history as a genre is most often associated with the field of history, since the 20th century it has been readily used by the social sciences and most recently in the field of education. Many oral histories are written to describe firsthand witness accounts of traumatic events, such as Hurricane Katrina survivors’ oral histories or the first responders to the 9/11 World Trade Center attacks. Other types of oral history include long interviews with soldiers returning from war fronts to document the trauma of war. The U.S. military has been documenting these stories for over a century and they are cataloged in military libraries, to use just one example. Initially, the oral histories collected by the military were from generals. Then, over time, a gradual movement toward documenting the experiences of the everyday soldier became a goal. Likewise, throughout history, oral histories have been documented by virtually every group and every possible category of individuals who have a story to tell. Another example of oral histories in a complete rendering of an era or experience are the oral histories of the Holocaust survivors. Most often noticed is the project completed by Steven Spielberg, who filmed all survivors of the Holocaust over a lengthy time period; these histories are available for viewing through his project. If we view oral history as a continuum of stories, we find elite participants’ stories on one end and ordinary participants’ stories on the other. In the middle of the continuum there is a median of combinations of stories, from the stories of elite participants to those of everyday citizens. To use an example from the dance world, before his death, Merce Cunningham’s dances were recorded, as well as lengthy interviews with him about his art. Thus, a new database will provide future dancers and choreographers with a rich and textured archive about choreography, artistic expression, improvisation, and performance. This is what we are trying to do in the early 21st century in the field of oral history. We are documenting the lived experience of individuals who experience life in any of its stages.

Oral History as Technique

Like the choreographer, all oral historians and qualitative researchers have to come to grips with the central techniques needed to tell a story. For oral historians, the well-tested techniques of interviewing and document analysis are first and foremost. Furthermore, in this postmodern era, the visual image through photography and videotaping may take prominent roles in terms of technique. Since interviewing is the heart and soul of oral history, the discussion begins here. There are literally thousands of articles in print and hundreds of books on interviewing.

Interviewing has taken hold in the social sciences, the arts, the sciences, society at large, business, and journalism. For the purposes of this chapter, we will look at interviewing in multiple ways. The first way is metaphorically, by conceptualizing an interview much like a choreographer conceptualizes a dance. Both the choreographer and the interviewer are working toward a performance activity: one a completed dance and the other a completed interview. Both are connected to some individual or group of individuals communicating through a regular feedback loop. Both work with social context, social boundaries, what to include and exclude, and what to eventually present in the form of a narrative or story.

Another way to look at interviewing is in terms of a creative habit. Like the dancer or choreographer who sees dance and its technique as a creative habit, the oral historian as interviewer may view the interview as a creative habit (see Janesick, 2011 ). Many choreographers have written about the creative habit (De Mille, 1992 ; Hawkins, 1992 ; Tharp, 2003 ). In my own field of education, it was John Dewey who wrote extensively on this topic, featuring the idea of habits of mind (Dewey, 1934 ). I mention this to point out the transdisciplinary nature of the ideas of habits of mind and body. Transdisciplinarity has been described extensively and is influencing our understanding of research (see Leavy, 2009 , 2011 ). Transdisciplinary approaches are problem based, methodologically sensitive, and responsive to voices outside and inside the margins of society. They represent a holistic approach to research methods. For oral history, that means stretching to collaborate with at least one other discipline with high levels of integration. It means thinking in a new way about oral history and its borders. Thus, it is an evolution toward developing new theoretical, conceptual, and methodological frameworks. For the oral historian, this is a custom fit. We already have at least two defined disciplines, oral history and qualitative research methodology, to begin with. Usually and most often, another discipline, such as the performing or visual arts, sociology, or anthropology, may provide a third part of the triangle. If we use arts-based approaches such as film, photography, painting, dance, sculpture, theater, or graphic arts in our work, we add another textural layer. For the purposes of this chapter, I will focus on interviewing as a creative habit dependent on a collection of good habits of mind as well as practical habits. I have written about qualitative techniques as creative habits previously (Janesick, 2011 ). These habits include the creative habit, the writing habit, the interview habit, the observation habit, and the analysis and interpretation habit. I extend these ideas throughout this essay. Furthermore, the work of Elliot Eisner ( 1991 , 2002 ) has been profoundly influential. His career was devoted to clarifying the importance of arts-based approaches to education and cannot be overlooked.

Interviewing as a Creative Habit

If we think about the creative act of interviewing, it may be a useful tool for oral historians and other qualitative researchers. Creativity is essentially about discovery, and interviewing allows us a great deal of room to discover the meaning of a person’s life or portion of a life, as well as allowing for an understanding of ourselves as researchers. I use creativity here in the sense that Csikszentmihaly ( 1996 ) viewed creativity, which is as a process by which a symbolic domain in the culture is changed. The creative act of interviewing is such a process because the symbolic meaning of the interview, its analysis and interpretation, and its final narrative form change the landscape of the historical record. Each researcher, dancer, choreographer, or social scientist is called on to develop habits of mind and body that change the culture. Some practical habits for the interviewer may include preparing materials for the interview, such as testing the digital voice recorder, bringing an extra thumb drive for the recorder, and bringing a battery charger if the recorder is chargeable. In other words, all the technical components must be in order to facilitate the creative habit of interviewing. In addition, the habit of being at the site of the interview ahead of time to test equipment and see that the setting is in order is good to develop. Another habit is to compose as many thoughtful questions as possible. It is far better to be overprepared than to be caught in an interview without questions. Usually five or six holistic broad questions are reasonable and may yield etc. A simple question like, “Tell me about your day as an airline pilot” once yielded nearly 2 hours of interview data, leaving all the other questions for another interview time. You will learn to develop a sense of awareness and timing about your participants in the study and rearrange accordingly. All these habits help to make way for the creative act of interviewing.

Probably the most rewarding component of any qualitative research project, especially oral history, is interviewing, because it is a creative act and often requires the use of imagination, much like a choreographer imagining what a dance will look like. In addition to the habits already noted, another useful habit to develop before the interview is the reading of recent texts and articles on interviewing. For example, see Rubin and Rubin ( 2012 ). Oral history texts and feminist research methods texts also have described interviewing in great detail. A good deal of what can be learned about interviewing ultimately may come from trial and error within long-term oral history projects by practicing the interview act. I defined interviewing earlier (2011) as a meeting of two persons to exchange information and ideas through questions and responses, resulting in communication and joint construction of meaning about a particular topic. With that in mind, because we are always researchers in the process of conducting a study, we rely on different kinds of questions for eliciting various responses.

The How: Active Interviewing

Many agree that the mainstay of oral history is interviewing. Interviewing is well described in all fields, but for this chapter I agree with those who view interviewing as a type of guided conversation (Rubin & Rubin, 2012 ). Furthermore, I see interviewing as a creative act. Just as the choreographer must know the technique and components of a dance, the interviewing must prepare questions. All of us, as oral historians or qualitative researchers, practice our craft and presumably improve over time. In addition, we are prepared with the latest digital equipment and have done research prior to the interview about the social context in which the interviewee is immersed. Depending on the stage of our own development as researchers, we may construct various types of interview questions.

Types of Interview Questions to Consider

Basic descriptive or help-me-understand questions

Can you talk to me about the recent decision you spoke of earlier that gave you such stress concerning reporting child abuse? Tell me what happened following this decision. Help me understand what you meant by the statement, “They are always with me.” Basically, you, the interviewer, probe further into the meaning of the experience of the participant.

Structural/paradigmatic questions

Of all the things you have told me about being a social worker, what keeps you going every day? Can you walk me through a typical day? What are some of your proudest achievements? Are there days that were more difficult and can you describe such a day?

Follow-up/clarifying questions

You mentioned that “time for meditation is important” to you. Can you tell me how you use this time? Another example might be, Tell me more about what you mean about your description of yourself as a “technology nut.”

Experience/example questions

You mentioned that you are seeing students succeed in ways you never imagined. Can you give me an example of this success? Can you give me an example of your most difficult day during your interviews for this position? You said, “High-stakes testing is killing our school.” Can you say a bit more about this?

comparison/contrast questions

You said there was a big difference between a great leader and an ordinary one. What are some of these differences? Can you describe a few for me? You mentioned that there is no simple board meeting and at the same time you can almost predict what will be the point of contention at the meeting. Can you say more about this?

Closing the interview

Closing an Interview Is Often Difficult for Both Interviewer and Interviewee

Another good rule of thumb for this situation is to ask questions that indicate the end of the interview and enable the participant to keep thinking about the information already given and quite possibly look forward to another interview. Here are two solid questions for closing an interview: Is there anything you wish to add to our conversation today? Is there anything I have forgotten to ask that you feel is important? Notice that there is always room for the participant to elegantly deal with the end of the interview in the moment with such a closing set of questions. In fact, many oral historians and other researchers report that participants will later say they are still thinking about these closing questions and want to tell the researcher something that was forgotten at the time of the interview. If this occurs, there is a serious opportunity for rich data to complement the existing interview or set of interviews through a follow-up interview.

While the interview is the mainstay of oral history, many oral historians go further to augment and support the interview data. This can be done by collecting other types of data. For example, the use of demographics to develop and describe the social context is always helpful. In addition, photographs, videos, newspaper clippings of the day, and any other written documents relevant to the main themes are also useful. Documents are a mainstay and can be analyzed just as interviews are analyzed through the constant comparative method, looking for themes and coming to some interpretation of the interviews and documents. In fact, emergent document analysis has been described by Altheide, Coyle, DeVriese, and Schneider ( 2008 ) as a way to study and deconstruct power. In this sense, emergent document analysis moves toward a critical awareness orientation.

Here, I list some additional ideas that may be helpful as you design your interview project:

Remember the categories of culture that affect how you frame a question, deliver the question, take field notes as the tape is recording, and ultimately make sense of the data.

Cognitive culture: how the interviewer and interviewee perceive their own context and culture.

Collective culture: how both see themselves as part of a collective culture including gender, race, class, religion, ethnicity.

Descriptive culture: all those written works and works of art and science that have had an effect on both the interviewee and the person who takes the role of interviewer.

Assumptions to be aware of while interviewing someone:

Assumption of similarities: just because you may professionally act in a role as, say, an educator and you are interviewing another educator, do not assume similarity of thoughts, beliefs, values, etc.

Language difference: the importance of one’s own first language and the misinterpretation of meaning in other language usage is critical.

Nonverbal misinterpretation: we may all read nonverbal language incorrectly—that is why you interview someone more than once, for example, why you keep coming back to find the answer to your questions.

Stereotypes: before any interviewing, check yourself for any stereotypes and be clear about their description in your role as a researcher.

Tendency to evaluate: while most educators continue to evaluate every spoken or written word even outside the classroom, try to avoid an evaluation of the content of given remarks.

Stress of interviewing: if you are stressed, the person being interviewed may pick up on those cues. Be prepared, use all your active listening skills, relax, and enjoy the interview. Be still and listen.

Thus, we see the what and how of interviewing. But, you may ask, Why do we do oral history?

The Why of Doing Oral History

For the purpose of this chapter, I will work predominately from a postmodern perspective to emphasize the evolution of oral history. In this perspective, oral history takes on more texture and possibly more credibility. Thus, postmodern oral history is characterized by:

An interpretive approach that may include the participant in the project as a co-researcher or at least an active participant in terms of member checking the material to be included in the final report, attempting to raise a critical awareness and consciousness of persons left on the margins of society.

Both interviewer and interviewee use ordinary language in the final report to make the story understandable to the widest possible audience.

Technology is used to enhance the power of the story being told and may include multiple uses of technology and the written word to complete the storytelling. Digital cameras, digital video cameras, cell phones, and other devices are regularly used as part of the narrative itself. Possible posting on YouTube or another Internet site for more rapid access to a larger audience is an option. The use of blogs, wikis, and social networks and the potential use of computer-assisted software for data analysis is ever-present.

Ethical issues are discussed and brought to the forefront of the project and throughout the project. Once again, raising a critical awareness of participants and their situations culturally and economically becomes important.

Oral history is the approach to qualitative research work that continually persists and prevails and is available in public spaces such as libraries and websites. It is one of the most transparent and most public approaches, regardless of the discipline base, be it history, sociology, education, gerontology, medicine, anthropology, business, etc.

Oral history validates the subjectivities of participants and is proud of it. We acknowledge subjectivity and celebrate it to reach new understanding of someone’s lived experience. This, in turn, helps us make more sense of the human condition. It also presumably can lead to wider and global projects.

Voices and stories of those members of society who are typically disenfranchised and marginalized are included for study and documentation. In that regard, oral history may be seen as a social justice project, moving toward a critical awareness of one another.

Oral history is viewed as a democratic project, acknowledging that any person’s story may be documented using accessible means to the data. In other words, oral history focuses not only focus on elites in society, but also on a broad spectrum of participants.

In addition, to use the metaphor of choreography to help in understanding oral history, it is helpful to understand something about the work of choreography. Often, the choreographer asks the following questions as a general beginning to any dance/artwork. Many dance teachers frame it this way:

Who (or what) is doing

What to whom (or what) and

Where , in what context, and

Why , what were the difficulties?

Thus, oral history stands as a noteworthy approach to understanding the lived experience of any number of individuals. It is a user-friendly list of questions to guide an oral history project.

Furthermore, like the choreographer whose aim is to communicate a story of some kind to an audience, the oral historian has to communicate a story. This means that writing is critical for a person who is becoming an oral historian. Like the choreographer and the dancer who train the body to perform, the prospective oral historian also is in training, particularly as a writer. In fact, writing is an athletic activity in the same way that dance and choreography are athletic activities. To write oral history, as in dance, you are engaging your mind, memory, and your body parts, such as the hands, muscles, nervous system, spine, joints, eyes, ears, and brain.

Many may ask questions, such as, Why do oral history at all? Many wonder about the qualities that may assist an oral historian and the characteristics of oral history. In reflecting on the characteristics of oral history, the following points may serve as a guideline as you become an oral historian in the field and as you begin interviewing someone.

Oral history is holistic. Even if you are telling the story of a vignette of someone’s life, that vignette gives the entire picture. Oral history takes into account the social context, the emotional context, the economic and historical context, and the big picture.

Oral history, by virtue of telling a story, looks at relationships. It is a people-centered occupation. In fact, many oral historians also interview participants who know the main participant in a study. You may wish to view the latest dissertations on Dissertation Abstracts for the latest in developments on oral history interviewing. For example, interviewing a teacher who is the main focus of the study might include interviews with a colleague and with significant others in the given context. Looking at the power relationships in any given study is a must. For example, deconstructing the power of family, culture, economics, and workplace dynamics can only help in the analysis of the data.

Oral history usually depends on face-to-face immediate interactions, particularly in the interview and then later with member checking. Thus, oral historians should possess good communications skills. This applies whether the interview is done digitally on Skype or in person.

Oral history, like all qualitative work, demands equal time for analysis as the time spent in the field. Interviews do not interpret themselves. Part of the job of oral historians should be to analyze and interpret the data.

Oral history acknowledges ethical issues that may arise in the interview. Also, oral historians recognize that ethics come into play when deciding what stays in the report and what is left out. Issues of confidentiality, protecting the rights of the participant, and other such questions are always a potential reality.

Oral history relies on the researcher as the research instrument.

Oral history seeks to tell a story as it is, without reference to prediction, proof, control, or generalizability. We are researching subjectivity and proud of it.

Oral history incorporates a description of the role of the oral historian/researcher.

Oral history incorporates informed consent and release forms or any formal documentation needed to protect persons involved in the oral history.

Oral historians check back with participants as a member check to share transcripts and converse about the meaning of data.

Oral historians read widely and do all that is possible to understand the social context of the person being interviewed. Collecting artifacts or written documents often is part of an oral history project. Having an outlook of transdisciplinarity is helpful in oral history projects. This demands awareness of more than one discipline and a deep use of the disciplines involved as a basis for the final narrative report.

Oral historians use all sorts of data. Even though oral history is a qualitative research technique, demographic information, documents, and other pertinent information may be used. Arts-based representations are useful and powerful tools for oral history projects. Photos, videos, posting stories on social media outlets, and YouTube are helping to disseminate a great deal of oral history. Archives store multiple types of data.

Oral historians write every day and practice writing on a regular basis.

Oral historians have a deep appreciation for history and the historical context and appreciate other disciplines and what they may offer in terms of understanding oral history.

Oral historians may use the technology of the day, such as the Internet, to learn from YouTube, blogs, written and posted diaries and journals, letters, and any other documentation to tell a story. Digital oral history examples are widely available on the World Wide Web 2.0 and beyond.

Oral historians may use photography and film to capture someone’s lived experience and to augment the narrative. As a result, oral historians must use up-to-date digital equipment and software that allows for incoming data appropriate to the level of sophistication of the software.

Oral historians may decide to tell the narrator’s story using poetry, drama, or other art forms found in documents and in the transcripts or craft their own poetry or use other art forms in their storytelling.

Oral historians, by virtue of doing oral history research, are gaining knowledge and insight into the human condition by understanding some aspect of someone else’s lived experience. They also learn from the research they are undertaking.

This information is not new, but as individuals discover this for themselves, they can set about the task of becoming an oral historian. Many who shy away from oral history need not be intimidated.

Writing Up Oral History as a Narrative

It goes without saying that to do oral history one must be an above-average writer. Think of the great storytellers in print. Recall your favorite writer as you read this. Most likely, this writer is adept at storytelling through a written narrative. To do oral history, a good strategy to employ in terms of writing is to keep a researcher’s reflective journal. By writing a journal of reflections, you clarify your position and situate yourself in the oral history. Writing up the narrative story depends on the interview transcripts, any documents being analyzed, and any other supporting data sets such as photographs, demographic data, artifacts, videos, and the researcher’s reflective journal, as well as any observations on the scene. These may help fill out the context of the story. Likewise, the researcher’s reflective journal is a valuable tool. I wrote in more detail earlier (1999, 2011) on the importance of the researcher’s reflective journal. Let us turn once again to that topic to clarify some points on writing and the researcher’s reflective journal.

The Researcher’s Reflective Journal

Journal writing as a reflective research activity has been called reflective journaling; it is also called reflexive by many sociologists and researchers in training. It has been most used by qualitative researchers in the social sciences, education, medicine, health, business, mental health, gerontology, criminal justice, and other fields since these professionals seek to describe a given social setting or a person’s life history in its entirety. The researcher’s reflective journal has proven to be an effective tool for understanding the processes of research more fully, as well as the experiences, mindsets, biases, and emotional states of the researcher. Thus, it may serve to augment any oral history reporting. This inclusion of the description of the role of the researcher and any reflections on the processes of the oral history project can be a valuable data set for any final reporting.

Many qualitative researchers advocate the use of a reflective journal at various points in the research project timeline. To begin, a journal is a remarkable tool for any researcher to use to reflect on the methods of a work in progress, including how and when certain techniques are used in the study. Likewise, it is a good idea to track the thinking processes of the researcher and participants in study. In fact, writing a reflective journal on the role of the researcher in any qualitative project is an effective means to describe and explain research thought processes. Often, qualitative researchers are criticized for not explaining exactly how they conducted a study. The researcher’s reflective journal writing is one device that assists in developing a record of how a study was designed, why certain techniques were selected, and subsequent ethical issues that evolved in the study. A researcher may track in a journal the daily workings of the study. For example, did the participant change an interview appointment? How did this change subsequently affect the flow of the study? Did a serious ethical issue emerge from the conduct of the study? If so, how was it described, explained, and resolved? These and other such questions are a few examples of the types of prompts for the writer. In addition, this emphasizes the importance of keeping a journal on the role of the researcher and the research process throughout the project, in this case an oral history project.

The inclusion of the use of the reflective journal as part of the data collection procedure indicates to some extent the credibility and trustworthiness of this technique. Does it not also act as a source of credibility and descriptive substance for the overall project? As a research technique, keeping a journal is user-friendly and often instills a sense of confidence in beginning researchers and a sense of accomplishment in experienced researchers. Many researchers verify that the use of a reflective journal makes the challenge of interviewing, observations, and taking field notes much more fluid. Researchers who use a reflective journal often become more reflective actors and better writers. Writing in a journal every day instills a habit of mind that can only help in the writing of the final research report. In the field of education, for example, many researchers ask participants to keep a reflective journal and end up relating to each other as co-researchers in a given project. In this type of work, journal writing becomes an act of empowerment and illumination for both the researcher and the participants.

In beginning the researcher’s reflective journal, regardless of the project, it is always useful to supply all the basic descriptive data in each entry. Information such as the date, time, place, participants, and any other descriptive information should be registered to provide accuracy in reporting later in the study. Especially in long-term projects, specific evidence that locates members and activities of the project can become most useful in the final analysis and interpretation of the research findings. Journal writing has an elegant, long, and documented history itself, which is useful to recall.

Journal writing began from a need to tell a story. Famous journal writers throughout history have provided us with eminent examples and various categories of journals (see Progoff, 1992 ). Progoff, for example, suggested using a dialogue journal where you and I as writers imagine a dialogue going on with the self and society. In this format, one writes a dialogue and answers the thoughtful questions posed. No matter what orientation is taken by the journal writer, it is generally agreed that reflexive journal writing is utilized for providing crispness of description and meaning, organizing one’s thoughts and feelings, and eventually achieving understanding. Thus, the oral history researcher has a valuable tool in reflective journal writing. In a sense, the journal writer is interacting with one’s self.

Thus, the art of journal writing and subsequent interpretations of journal writing produce meaning and understanding that are shaped by genre, the narrative form used, and personal cultural and paradigmatic conventions of the writer, who is the researcher, participant, and/or co-researcher. As Progoff ( 1992 ) noted, journal writing is ultimately a way of getting feedback from ourselves. In so doing, this enables us to experience in a full and open-ended way the movement of our lives as a whole and the meaning of the oral history project. Journal writing allows one to reflect, to dig deeper into the heart of the words, beliefs, and behaviors we describe in our journals. The act of writing down one’s thoughts will allow for stepping into one’s inner mind and reaching further for clarity and interpretations of the behaviors, beliefs, and words we write. The journal becomes a tool for training the research instrument, the person. Since qualitative social science relies heavily on the researcher as research instrument, journal writing can only assist researchers in reaching their goals in any given project, especially in oral history projects. I see journal writing as a critical tool in becoming a solid narrative writer and a good oral historian.

Major Issues Facing Oral History Researchers

I wish to focus on three key issues facing oral historians in the early 21st century. First, how can we use the many digital technologies, software, and equipment more readily and in a critically aware manner? Second, how can transdisciplinarity enrich our narratives? Third, how might we use arts-based approaches to oral history that work in a transdisciplinary way, incorporate digital arts–based approaches, and arrive closer to a critically aware social project? These issues may present us with a few problems. As many will attest, when doing oral history interviews, some information is shared that is basically private; the participant would like to keep it private, and video and audio materials must be protected just as any research report in hard text would be protected. In other words, ethics is an overriding umbrella for oral history researchers in terms of our work. At the same time, with the proliferation of social media, YouTube, and the readily available technology to use these media, the current generation of researchers seems dedicated, if not glued, to computers and other handheld devices that open up to the world what previously might have been private.

Oral History in the Digital Era: A Way to Use Arts-Based Approaches

Technology is a welcome addition to the oral historian’s toolkit. Using technology is like choreographing a dance. You begin with the basics, as discussed earlier, and determine how to tell someone’s story in photographs, video, etc. In addition, some researchers use social media networks such as Facebook or Twitter, blogs, wikis, YouTube, and TeacherTube to collect data and represent that data through technology. Following are some potential assistive devices for the oral historian or any qualitative researcher. By the time this book goes to press, it is highly probable that other sites will have emerged. What is happening is a move to go beyond the interview transcript/s to make full use of the transcript/s. See the following resources and sites on the World Wide Web 2.0. for strategies that will enable the oral historian to do exactly that.

Conducting Oral History in the Digital Era

In this digital era, conducting oral history takes on new forms, yet remains true to its original intent. Boyd and Hardy ( 2012 ), for example, wrote an overview of collecting in the digital era on the well-known and instructive site for oral historians, http://ohda.matrix.msu.edu/ .

This site is a treasure trove for anyone doing oral history. It is housed at Michigan State University and contains so many links and websites that you will want to travel there yourself. For example, they suggest these sample links.

SAMPLE Links

American Folklife Center at the Library of Congress

American Folklore Society

Michigan State University

Oral History Association

Department of Communicative Sciences and Disorders, Michigan State University

Michigan State University Museum

Louie B. Nunn Center for Oral History University of Kentucky Libraries

This is only part of what you will find here to assist you in conducting critical oral history interviews. As you get to know these centers and archives, you will have additional data for your oral history project. In addition, get to know your own community and university library. You may be surprised by what you uncover. That data may add to your own knowledge base about the critical social awareness of your participants. This listing is not meant to be exhaustive or complete. Even digital sites change remarkably in just a few years. The point is to get to know what is out there on the Web and in your own libraries.

Additional Resources

As mentioned earlier, because of the many resources available digitally, here I will present just three major resources.

Using VoiceThread

What is voicethread.

A VoiceThread ( http://voicethread.com ) is a collaborative, multimedia slideshow that is stored and accessed online that holds images, documents, and videos and allows people to navigate pages and leave comments in five ways—using voice (with a microphone or telephone), text, audio file, or video (via a webcam). A VoiceThread can be shared with other professors, researchers, students, and the wider community for them to record comments as well. Think of it as having a conversation with someone in the Cloud. VoiceThreads can also be downloaded in a movie format, but there is a cost for this function. VoiceThread supports PDF, Microsoft Word, Excel, and PowerPoint (including Office 2007 formats), images, and videos. VoiceThread also imports photos from Flickr, Facebook, or the Web. Each of these formats allows for artistic expression, including incorporation of photography and video.

VoiceThread is a flexible tool that can be applied to a wide variety of uses, such as:

orally publishing written work with matching artwork displayed on the slide;

uploading interviews for analysis;

describing qualitative methods and techniques in a research class;

displaying videos for comment and feedback;

art portfolios describing processes used at each step or just as a simple art gallery;

gathering perspectives on an idea or concept from participants indicating a more active role for participants; or

creating an archive of interview responses.

By going to the wikis that house VoiceThread information, you can save yourself a great deal of time. Please go to https://voicethread.com/ .

Creating a Blog with WordPress to Tell a Story

WordPress is an open-source blog publishing application. It features integrated link management; a search engine–friendly, clean permalink structure; and the ability to assign nested, multiple categories to articles. In addition, multiple author capability is built into the system. There is support for tagging posts and articles. Some researchers have made posters using WordPress to display data at conferences and other sites. In addition, WordPress is advertised as having beautiful graphics and photos available for use. It is worth exploring: http://www.wordpress.com .

WordPress allows you to publish almost anything in just about any field. For the oral historian, the possibility of blogging with your participants is one avenue of collecting additional data. The WordPress site is filled with ideas, directions for setting up your own blog, pricing, when applicable, etc. As you read and understand the value of WordPress, you may be able to enhance the final narrative of your project.

Using Photography in Oral History Projects

Photography is a powerful research tool for oral historians and other researchers (Harper, 2003 ; Rose, 2007 ). Researchers in many fields are recognizing the value and use of photography to augment the final narrative of a qualitative research project. To give an example, since many libraries are adding to their digital collections, doctoral students in the early 21st century can expect that they will be doing completely digital dissertations. Thus, current doctoral students have the opportunity to use photography in the final dissertation product. Hard-text copies are going the way of the dinosaur for many individuals. In many fields, including oral history, researchers are using photovoice as a key technique.

Photovoice is a technique used in some projects to allow participants to photograph, describe, and explain their social context, particularly groups most often on the margins of society. This project began as a way for underprivileged students and parents to capture, using photography, neglect, abuse, and other aspects of the social context that give witness to those on the outskirts of society. For a more involved description and examples of photovoice, please do a Google search for photovoice. You will find numerous articles on this activity. Photovoice is most often described as a process. People can identify, photograph, and explain their community through a specific photographic technique. Photovoice has various goals, including: (a) enabling an individual to keep a record and reflect a community’s strengths and concerns, such as the photographs taken after Hurricane Katrina; (b) promoting critical dialogue about community issues within a given community and; (c) eventually reaching policy makers through the power of the photograph. A growing body of photovoice examples can be found on YouTube at http://www.youtube.com/watch?v=shrFa2c305g .

Since this is a visual medium, it is helpful to view these many examples for a model of what is possible for oral historians. Familiarity with many of these sites can be helpful in crafting the final narrative, much like the choreographer improves his or her craft by photographing and making videos of segments of a dance or an entire dance performance. Photovoice allows for understanding your community more fully. It has been used for the following: activity-focused research, needs assessment, problem-finding, problem-solving, solution implementation activity, project analysis, and evaluation. Photovoice has been used successfully in projects related to issues as diverse as infectious disease, health education, homelessness, economic barriers, sexual domination, diasporas, population isolation, and political violence (Catalani & Minkler, 2010 ).

Oral historians strive to capture the voice of their participants, for which photovoice is a powerful technique. The leading site is https://photovoice.org on Google or https://photovoice.org/projects/ .

Transdisciplinarity: Crossing Boundaries in Oral History

I like to think of transdisciplinarity as an insurance policy. It allows for crossing borders and boundaries of more than two disciplines to arrive at a strong holistic description and explanation of the data gathered during the project.

In the 1970s, there was a push for multidisciplinary approaches to research, particularly in the qualitative arena. In oral history, life history, and biography projects, this was a welcome balm to the traditional one-shot interview taped and left on a shelf. In a way, the past 50 years have shown us that in fact more is more. By using more than two disciplines to view one’s data, the chances are high that the story becomes richer, more textured, and multilayered. As mentioned earlier in this chapter, it is possible to see this as yet another creative habit for the interviewer. If you google the word transdisciplinarity, you will find many articles on the topic from France, Germany, and Canada, where a great deal of thinking and writing about transdisciplinarity has occurred. This leads me to conclude that transdisciplinarity is here to stay. Why should we not take advantage of it?

Future Directions and Final Reflections

To make sense of oral history, choreographing the story we tell as historians and researchers includes art, experience, and inquiry. I return historically to the third chapter of Art as Experience , a groundbreaking text by John Dewey (1859–1952) that suggests,

Experience occurs continuously because the interaction of live creature and environing conditions is involved in the very process of living. (Dewey, 1934 , p. 35)

While Dewey speaks in theory as a philosopher, Erick Hawkins (1909–1994), a choreographer, writes in the here and now of an actual dance in progress. Hawkins wants us to see the body as the perfect instrument of the lived experience.

Several times so called critics have judged the dancers of my company as being “too graceful.” How can you be too graceful? How can you obey the laws of movement too much? … The answer is a kind of feeling introspected in the body and leads one into doing the correct effort for any movement. The kinesiological rule is to just do the movement.… The tenderness in the mind takes care of the movement in action. (Hawkins, 1992 , pp. 133–134)

Similarly, Hawkins wrote,

One of the reasons we are not accustomed as a culture to graceful movement is because we do not treasure it. The saying among the Greeks of the Athenian supremacy was that the body was to be treasured and great sensitivity was used in the observation of movement. They treasured the body by having many statues of deity … maybe they understood that the body is a clear place. (p. 134)

We can learn from these writers as we look ahead to our qualitative oral history research projects. We can see the lessons here.

We learn about the critical importance of experience, curiosity, and imagination, and the resulting artifact, the oral history narrative, is layered and connected.

We learn about the power and value of the subjective experience in interpretation of the oral history interview and documents, and these may be artistically rendered.

We learn that the landscape of feeling and emotions cannot and should not be avoided when expressing art or artifact. In fact, these are embraced in oral history.

For researchers to “have the experience” of telling someone’s story, the researcher must acknowledge the experience component of empathy, understanding, and the story itself. The oral historian must be prepared with the best possible tools and techniques of our craft.

We celebrate narrative storytelling in whatever form it may take, but appreciate the visual options through digital media and arts-based approaches to storytelling.

Because we are bombarded by images through multimedia, it makes sense to use these multimedia to effect a powerful story using photography, video, and other arts-based approaches to assist in using our research to move toward a more socially just world.

We can feel comfortable in returning to a true appreciation of storytelling, a space from which oral history derived.

One of the reasons I do qualitative research and specifically oral history is that it is multifaceted and may include more than one art form, such as writing, poetry, and/or photography. In fact, I see oral history as an art form itself. A larger audience is more likely to be reached through the arts than through any other curricular or cultural arena. The arts can meet the need of nearly every person, no matter who that person is or where the person is in the world, and so there are social justice implications. In fact, the digital revolution we are experiencing is filled with art, dance, music, poetry, collage, and other art forms stored in the largest digital archives of Google and YouTube. Oral history provides us with understanding the power of experience, art as experience, and artifacts resulting from the experience, all of which transcend the day-to-day moments of life. In fact, storytelling is its own art form. As we tell stories about the lived experience of our narrator and our participants, art illuminates that experience. For me, using poetry, photography, and video whenever possible helps to widen the repertoire of techniques for a person who wishes to become an oral historian and document and interpret a story. It seems to me that as we practice oral history, we keep a digital record, a reflective record, and move ahead to carve out our place in the inquiry process as we are building a record of lived experience.

Three Questions for the Field

To conclude this piece, I will discuss three questions for oral historians to think about in terms of shaping the future directions in the field.

How Might Our Work Be Used to Advance Critical Awareness of the Power Structures We Inhabit?

One of the strengths of oral history is that a diverse and multicultural knowledge base is being built through the use of oral history interviewing. To use just one example, that of truth commissions across the globe, there is a steady stream of documenting injustice and exposition of power struggles and structures. Thus, this ironically can lead us to more of a movement toward social justice. By way of explanation, think about the critical testimony of the victims of apartheid in South Africa. The South African Truth and Reconciliation Commission was the major vehicle for capturing what occurred throughout this difficult period. Ordinary citizens came forward and faced their abusers. They gave long interviews, all of which are recorded, and the perpetrators of the various crimes asked for forgiveness. The person being interviewed had to forgive the individual. Torturers, murderers, and transgressors admitted their crimes and they were interviewed as well. There was an understanding that once the testimony was given by both parties, forgiveness was given, the case was closed, and both/all parties moved on. Desmond Tutu was the originator and overseer of the Truth and Reconciliation Commission, and he wrote of the experience (Tutu, 1999 ). What these testimonials as oral history gave us was a powerful understanding of the cultural, political, emotional, and psychological aspects of apartheid that had never been seen before. Furthermore, we could see the agonizing tales of brutality and its aftermath. It was an example for the world of what is possible and how it is possible to move toward critical awareness of one’s culture, at least in these overt, clear cases.

As oral historians, we see how, when, where, and why people were able to recount their stories. Tutu ( 1999 ) reminded us of what he calls his four types of truths. First, he described factual or forensic truth, or the actual evidence of what occurred. Second, he mentioned the personal or narrative truth of the interviewee: the story told by the witness giving testimony. Thus, we have the actual human story and the description of the lived experience, which is the goal of oral history. Third, Tutu described the social or cultural truth, that is, the context of what occurred historically and up to the present time. This is the documentation of the power structures involved in the various cases. Here, this may also include the forensic and personal truth. Finally, he discussed the restorative or healing truth, which describes what is needed to heal the wounds of the three previously outlined truths. Thus, testimony as oral history becomes a way to move toward a new kind of critical awareness. This is a unique case and one in which the entire world was updated as the hearings unfolded. But in the everyday lives of those we live and work with, there are many injustices that may be documented through oral history methods.

How Might We Think about Arts-Based Approaches to Improve Our Practice?

Writers have already outlined many arts-based approaches to qualitative research, and it makes sense to use arts-based approaches to enhance oral history narratives as well. After all is said and done, the oral historian is part artist, part historian, part ethnographer, and part active agent. Why not take advantage of arts-based approaches to research to disseminate the stories of our participants? For example, many possibilities for arts-based approaches include using the digital technology so readily available today for photography and videos, as described earlier in this chapter. Using performing arts such as play-making and reader’s theater to augment data presentation offers many opportunities to integrate arts-based approaches to oral history as well. Likewise, using poetry to represent our data and our processes makes sense. Because of space allotted for this section, I want to focus on another type of arts-based approach, that of found data poetry or any form of poetry. Found data poetry is poetry found in the data itself, such as interviews and documents from the site of the study. This means using words found in the data and making poetry from the meaning of the text. Poetry offers us a new way to look at our data and a new way to express it. See the following short example from a transcript of an oral history project I am currently completing on oral histories of female leaders. In this excerpt, a female school assistant superintendent from a north central state is explaining one of the challenges in a case regarding attempted censorship of a middle school reading text. The text included a story about a young, ostracized, obese student who contemplated suicide but then realized he was good at music, so he put his energy into music. The story of redemption rather than suicide was appreciated by students. However, some fundamentalist parents tried to mount an email campaign from around the United States and Canada to object to this optional text being included on the school’s summer reading list. Following this excerpt, which was used as an example of how leaders deal with multiple public stakeholders, you will see poetry constructed from the interview.

Sample excerpt from a transcript of an interview with a female assistant superintendent of schools in a north central state

q: Think about yesterday and today, not necessarily as typical days, but what does your day look like? Tell me about the things you deal with. a: Well, it’s been a typical days so that’s … And that’s something I’ve been thinking about. There isn’t … There are typical days and they’re boring. The typical days are the days when you’re sitting and working on paperwork for the state and working on budgets and trying to analyze test scores to make them meaningful to the teachers and to the … and whatever. So those are the typical boring days. This is our second week of school so there’s no typical beginning of the school year. Now I’m spending more time supporting teachers, right now new staff. Right now I’m doing … pulling on my Special Ed background. I have a little guy who is in one of our self-contained classrooms but he’s struggling with the transition coming back to school and mornings aren’t good for him and he’s got a new teacher. And the principal in that school is on maternity leave. And the principal who is filling in was a little panicked. And so we met and talked about strategies for this little guy that, no, you know in first grade he’s not ready for therapeutic day school. He’s not hurt anybody. Everything’s fine. It will be okay. We have a controversy going on right now related to curriculum materials that have been selected for students’ optional use, optional reading. So we’ve been laughing and … on one hand … and cringing on the other because we’re responding to one parent’s concern. We have only heard from one parent who has a concern about a book that was on the summer reading list. Kids take home a list of six or seven books that are optional. The kids give a synopsis of the book at school. They talk about them. And if you don’t like any of those books you can read any other book in the whole wide world to choose from. And this one is, as much young adult literature is, has controversial themes because it gives us the opportunity to support kids as they worry about these things. q: Can you tell the name of the book? a: It’s Fat Kid Rules the World by Kale Going. And the themes really are friendship, not giving up, perseverance. A student in there contemplates suicide. He’s had a very tough time. His mom’s died from cancer. His dad’s an alcoholic. He’s in an abusive home situation. And he is befriended by a homeless teen who is a gifted guitarist who asks this kid to join his band and play the drums. And it basically is about acceptance and you know it’s a great story of Redemption. It’s a wonderful story. And the parent that objects is objecting based on the proliferation of the “f” word. And it is in there and it … kids are in Brooklyn. And interestingly enough, but it’s not really spoken out loud. It’s in this kid’s thoughts. That she’s objecting to the normal sexual fantasies of teenagers. He’s describing a person and saying no not this one, not the one with the large breasts you know the other one … physical features. So you know things like that. This parent has you know not accepted that the fact that her child was not required to read the book and … She did not ask for the book to be banned from the library. I think she just asked for it to come off the summer reading list. However that has snowballed to some right-wing websites …Concerned Women for America, the Illinois Family Network. I don’t know which all … SaveLibraries.org. And we have been getting interesting emails from basically all over the country and Canada. q: What would be an interesting email? a: Oh some that are saying … One was, you know, “If I knew where Osama Bin Laden was, I would turn him in but first I would tell him where your school was so that he could bomb it. Hopefully when there was no children … on the weekends when no children were present.” You know, “You’re responsible for the moral degradation of children and the increase in rapes and murders and school shootings because children have read … because we have forced children to read this book.” q: Have you been threatened or has anybody? a: I have not personally been threatened. The junior high principal has been threatened. You know “When someone comes and murders your family, it’ll be because of how you taught them.” Rather interesting. No one from the immediate community … No other parents in the community … There’s an article in today’s paper, we had a prepared statement to share with people who called anticipating … And we did end up sending a note home today you know saying that you know we didn’t believe that the threat was really credible but that we did have, you know, that there was a police presence. … It was on the book list for incoming 8th graders, so that would be 13 and 14 year-olds. They talk about these things. And some statistic that I had recently come across said three to five … Three out of five teenagers contemplate suicide at one point. So, um …yeah, it’s kind of important to maybe say, yeah, there’s a place to talk about this. It was … It’s probably towards the young end of the age spectrum that the book might be appropriate for. And we did have a parent come and talk in support of the book. Her student had read it during 7th grade. He’s a very capable student. And as a parent she also read the book and thought it was a perfect avenue to discuss some of these difficult situations.

In this example we have many options for creating poetry to describe the content of the issues at hand as well as the emotional meaning. Here is an example of poetry written by Jill Flansburg ( 2011 ), who read the transcript and created this poem.

Parent Misconstrue

Parents misconstrue The teachers, the kids the book. Narrow mindedness. Poise under pressure Never a typical day But I really care … Parents find fault Intolerant of teachers And the kids miss out.

In this case you can see the power of the poem. It makes us think in new patterns and see something in the data that inspires poetic form. Poetry becomes a way to see possibility and hope in our work. Poetry allows us to say things that may not have been said or that make us notice what exactly has been said. Poetry becomes a method of discovery and a powerful technique in one’s toolkit for oral history. It is evocative and personal. Many poetry sites on the World Wide Web 2.0 and many poetry blogs may even be used as a way to analyze, interpret, and disseminate data in digital formats. Poetry as data presentation is one meaningful strategy for the oral historian. This goes beyond the actual interview.

How Might We Work in a Transdisciplinary Way to Augment the Oral History Interview?

I like to think about ways to make oral history more accessible. In this segment, thinking about digital technologies, poetry, and critical awareness as contextual, it makes sense to think about what other disciplines might teach us. In fact, oral history is often described alongside life history and biographical approaches to research. For years, researchers have been writing, thinking, and talking about triangulating data. We also have seen many writers discuss cross- and/or interdisciplinary approaches to research. For example, the social sciences and health sciences may have researchers who team up to study obesity. Medical and educational researchers may team up to study AIDS education programs. But the question then becomes, How deeply might this collaboration occur between and among disciplines? A new development has occurred recently in terms of thinking about transdisciplinarity.

Historically, Jean Piaget most likely was the first to introduce the term transdisciplinarity, around 1970. In the 1980s in Europe, interest continued, and in 1987, the International Center for Transdisciplinary Research adopted the Charter of Transdisciplinarity at its first world congress. This charter called for doing research with a holistic approach by crossing disciplines and going deeply into the union of the disciplines while designing research that is problem based. Many European research centers, such as those in Switzerland, Germany, Austria, and France, currently appreciate and use this approach. In many ways it is like choreography, because it shares many characteristics and in choreography the artist uses at least two disciplines to start with that are deeply imbedded in each other, dance and music. For example, the choreographer mentioned earlier, Merce Cunningham, worked with composer John Cage (1912–1992) for a lifetime of collaboration in dance and music performance. They were able to deeply create meaning from this collaboration in performance, in critique and in developing new projects.

For oral historians, transdisciplinarity can work effectively because oral historians may use two or three disciplines embedded in each other. In my current research I use the fields of education, history, and sociology to examine the oral histories of female leaders. To go beyond the transcripts of interviews, transdisciplinarity offers us much to work with in terms of the design of our research, analysis, and interpretations (see Hirsch et al., 2008 ; Leavy, 2011 ). In addition, this approach is well suited to qualitative approaches in general and oral history in particular. I see this as a steady progression toward a more integrated, unified, critically aware, artistic, and rational approach to our work. In closing, let me ask that we think about going beyond the basic oral history interview. Let us use arts-based approaches to presenting and interpreting data. Let us use the digital tools available. All this is to contribute to critical awareness of the power structures we inhabit through our work and our lives and to appreciate the purpose and value of transdisciplinarity in our work. As the novelist Brandon Sanderson (2010) reminds us,

The purpose of a storyteller is not to tell you how to think, but to give you questions to think upon.

Altheide, D. , Coyle, M. , DeVriese, K. , & Schneider, C. ( 2008 ). Emergent qualitative document analysis. In S. N. Hesse-Biber & P. Leavy (Eds.), Handbook of emergent methods . New York, NY: Guilford Press.

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Catalani, C. , & Minkler, M. ( 2010 ). Photovoice: A review of the literature in health and public health. Health Education & Behavior, 37, 424–451.

Csikszentmihalyi, M. ( 1996 ). Creativity: Flow and the psychology of discovery . New York, NY: Harper Collins.

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Eisner, E. W. ( 1991 ). The enlightened eye. Qualitative inquiry and the enhancement of educational practice . New York, NY: MacMillan.

Eisner, E. W. ( 2002 ). The arts and the creation of mind . New Haven, CT: Yale University Press.

Flansburg, J. ( 2011 ). The interview and writing habit. In V. Janesick (Ed.), Stretching exercises for qualitative researchers (3rd ed., pp. 129–129). Thousand Oaks, CA: Sage.

Harper, D. ( 2003 ). Framing photographic ethnography: A case study. Ethnography, 4, 241–266.

Hawkins, E. ( 1992 ). The body is a clear place and other statements on dance . Pennington, NJ: Dance Horizons, Princeton.

Hirsch, H. G. , Hoffman-Riem, H. , Biber-Klemm, S. ; Grossbacher-Mansuy, W. , Joye, D. , Pohl, C. , … Zemp, E. (Eds.). (2008). Handbook of transdisciplinary research . New York, NY: Springer.

Janesick, V. ( 2007 ). Oral history as a social justice project: Issues for the qualitative researcher. The Qualitative Report, 12(1). Retrieved from http://www.nova.edu/ssss/QR/QR12-1/janesick.pdf

Janesick, V. J. ( 2010 ). Oral history for the qualitative researcher: Choreographing the story . New York, NY: Guilford Press.

Janesick, V. J. ( 2011 ). Stretching exercises for qualitative researchers (3rd ed.). Thousand Oaks, CA: Sage.

Leavy, P. ( 2009 ). Method meets art: Arts based research practice . New York, NY: Guilford Press.

Leavy, P. ( 2011 ). Essentials of transdisciplinary research: Using problem centered methodologies . Walnut Creek, CA: Left Coast Press.

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Browse Course Material

Course info.

Prof. Christine Walley

Departments

Anthropology

As Taught In

Cultural Anthropology
Ethnography
Social Justice

Learning Resource Types

American dream: using storytelling to explore social class in the united states, oral history assignment.

For this assignment, you will conduct a taped oral history / interview with another individual and submit a 2–3 page, double-spaced written account of that interview and a partial transcript.

You can choose whomever you’d like to interview for this assignment. The topic of the interview is the “American Dream,” but you can take that interview in many different directions. It can explore an experience of immigration for the interviewee or his or her family; it can refer to possibilities for upward economic mobility; it can refer to hopes and dreams for the future for oneself or one’s future; or to some other way you or your interviewee might interpret it.

The interview should be semi-structured, meaning some mix of general questions and some improvisational question-asking depending on the responses and interests of the interviewee. Before the interview, write down 5 or 6 questions you might ask and practice with your recording device. During the interview you may want to keep some running notes by hand to help you find things afterward on the tape, although you don’t have to if this feels distracting. After the interview, have the interviewee sign a consent form. (Although institutional review board clearance is not required for oral history interviews, having signed consent forms is good practice.) After the interview, you should immediately type up your notes and summarize the conversation while it’s still fresh in your mind. Also note details about the setting that might be helpful to convey to a reader: what was the setting like? Was there anything striking about how the person was dressed or spoke? What was the tone of the conversation like? etc.

Post-Interview

You can download a trial version of Express Scribe Transcription Software for free on your computer. Using your notes to help you, select a 20 minute passage of the interview that seems particularly compelling for transcription. The transcription software will allow you to slow down or speed up the recording to assist with typing at an even pace. Pay close attention to nuances of language and emotional affect. If someone laughs, cries, or expresses other emotions you might want to note this in parentheses in the text, i.e. (laughter), (angrily) etc.

In your 2–3 page (double-spaced) write-up, offer a description of the interview, convey the general themes, the tone, and setting of the interview, what you learned from it, what it says about the “American Dream” to you, and anything else that feels relevant. Offer quotes from the transcription to support your points. In capturing quotes, you can leave out “ums” and “ahs;” if there is a word missing that is needed to help the reader understand something you can add it in brackets [ ]; if there is a phrase, clause, or sentence that distracts from the point, you can cut it if you put in ellipses (i.e. …).

Along with your 2–3 page write-up, turn in the verbatim transcription.

This assignment is due during Session 6.

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5 Interview Guide

Workflow to conduct an oral history interview for UB Stories: 100th Anniversary University Oral History Project

1. Conduct preliminary research on:

Interviewees.

employment history

History of the University

Unpublished University Histories Collection 1947-1985
Oral History Project Collection 1971-1983
University of Baltimore 2000
University of Baltimore Alumni Magazine 1960-2019
University of Baltimore Wikipedia

2. Contact interviewees that have already been contacted by the project manager, confirm the interview, explain the logistics, and inquire about their availability.

Email Template

“Subject: UB Stories: 100th anniversary oral history project

I am [your name]. I am a student at the University of Baltimore and a member of the oral history project team at Special Collections and Archives.

Thank you for agreeing to participate in an oral history interview. I am reaching out to set up a date and time for your interview, as well as give you some information you might find useful as you prepare for your interview.

Please suggest a couple of times and dates that work for you. Our interviews will be conducted online through Zoom’s video conferencing platform. All you need is a webcam, microphone, and high speed internet on your computer, tablet, or smartphone. Additionally, earbuds with built-in microphones or external headphones would be ideal. If you do not have access to this equipment, please let me know. The link to our Zoom meeting will be sent to you once we finalize the date and time of the interview. We will record both the audio and video during your interview (unless you do not want us to record the video).

In advance of the formal interview, we can do the following:

Confirm that the internet connection is strong, and that the interview conversation will go smoothly.
Make sure that there are no background noise sources that might disrupt the interview.
Consider how to get the best picture possible by changing computer camera positioning, moving distracting background objects, or considering the available light sources.

I’ve attached a list of questions that I will use for your interview. We conduct interviews in chronological order, starting with personal background information, where you have worked, why you became interested in working at UB, etc. It may take between 60 and 90 minutes to conduct the interview.

Additionally, we’d like to have a recent photo of you to use for this project’s online exhibit.

Please find attached the Informed Consent and Deed of Gift Agreement forms to sign before the interview. You may choose to sign the Deed of Gift form after the interview.

There are two options for you to digitally sign the documents for us.

E-signature in Adobe Acrobat. If you are not familiar with this service please let me know that I can provide you with instructions.
You can print and sign the form, then generate an image of the signed form and return it to me via email.

Your interview will be transcribed and you’ll get the chance to edit the transcription before it’s posted online at Special Collections and Archives Exhibit website . In the meantime, you can explore the other oral history project that was conducted between 1971-1983 at the University of Baltimore.

Thanks again for agreeing to participate in this project. Your insights will enhance our knowledge of our institution’s history, and we truly appreciate you being a part of it.

We look forward to hearing your story.

Let me know if you have any questions, and we will continue our discussion via email or you can call me at …” [1]

3. Send the Informed Consent and Deed of Gift to the interviewee to sign.

Informed Consent Form Template

ORAL HISTORY INTERVIEW INFORMED CONSENT FORM

UB Stories: 100th anniversary oral history project

You are being asked to participate in an interview in connection with UB Stories: 100th anniversary oral history project because you are a part of a list of individuals important to and knowledgeable of the history of the University of Baltimore over the past several decades. You will be asked about your life and experience as a faculty or staff working at the University of Baltimore.
The interview will be digitally recorded, transcribed, published online, and made available for public and scholarly use at the University of Baltimore. Any member of the general public will have access to this interview and your words may be quoted in scholarly and popular publications.
The interview will take approximately 60 to 90 minutes. It will include video, audio, and transcript recorded through Zoom platform. There are no anticipated risks to participation in this interview. However, you can withdraw from the interview at any time without prejudice prior to the execution and delivery of a deed of gift (see the attached form). You will also have the opportunity to make special provisions or restrictions in the deed of gift. During the interview you may request to stop the recording at any time to discuss or clarify how you wish to respond to a question or topic before proceeding. In the event that you choose to withdraw during the interview, any recording made of the interview will be either given to you or destroyed, and no transcript will be made of the interview. With your permission, a photograph of you will be used if you provide it. If you withdraw from the project, any digital files regarding your interview will be destroyed.
Upon completion of the interview and signing the deed of gift, the digital recording and content of the interview will belong to the University of Baltimore Special Collections and Archives, and the information in the interview can be utilized by the University of Baltimore Special Collections and Archives in any manner it will determine including but not limited to future use by researchers in presentations and publications.
If you have any questions about the project or procedures, you can contact ………….., Project Investigator at ………. , phone number: ……, or email: ………

Interviewer signature ____________________________________________

I agree to participate in this interview.

Interviewee Printed Name _____________________________________

Interviewee signature ______________________________________________

Address _________________________________________________________

Phone number ________________________________

Date ___/___/_____ [2]

Deed of Gift Form Template

ORAL HISTORY INTERVIEW DEED OF GIFT

I, ______________________________________, hereby give my permission to the University of Baltimore (UB) Special Collections and Archives for scholarly and educational to use the video recordings, and all associated audio and text files, from the interview(s) conducted on _________________and the photograph sent on _____________________. I also grant the University of Baltimore’s Special Collections and Archives all the rights I possess in those recordings, including all intellectual property rights.

I understand that I am conveying all right, title, and interest in copyright to the University. I understand that the UB may post online the material in whole or in part for additional educational, non-commercial purposes.I understand that UB grants me a nonexclusive license to utilize my interview/s.

I agree to be identified by name in any transcript or reference to any information contained in this interview.

The foregoing gift and grant of rights is subject to the following restrictions:

__________________________________________________________________________

This agreement may be revised or amended by mutual consent of the parties undersigned.

Accepted by:

___________________________________________ Date_______________________ Project Investigator

____________________________________________ Date ______________________ Interviewer Signature

____________________________________________ Date ______________________ Interviewee Signature

____________________________________________________

Interviewee Street/PO Box Address

City _______________ State _____________Zip Code ___________ Phone Number ________________ [3]

4. Compile a list of topics or questions.

Questions For Interviewing Faculty, Staff

Early life, Education, and Family

When and where were you born and where did you grow up?
What do you know about your family ancestry?
Tell me about your family background.
How was it like to be growing up in …?
Tell me about your childhood and adolescence days.
Did you have any jobs in town when you were growing up?
How did you end up choosing to go to … University for your Undergraduate?
At what point did you decide to major in …? How did this happen?
Why did you decide to continue your education?
Tell me more about your time at the university where you studied. What stands out in your memory from that time?
What did attract you to pursue your PhD (e.g., doing research, teaching, etc.)
What would you like to mention about your time at … University for your Phd?
What would you like to say about your time at … for your Phd?
What was your first real research project? Was it your thesis?

Work experience before UB

Tell me about your experience at your first job as a faculty and teaching at the … University.

Working at UB

What year did you join UB?
How did you learn about the job possibility at UB and what, if anything, did you know about UB before you came for the interview?
What was your job at UB?
Tell me a bit about how you set up those early courses.
How much pressure was there to do research? How were you made aware of the pressure (requirements)?
What were the requirements for pedagogy or teaching at that time at UB?
How was your early impression of the campus once you arrived?
What did you teach?
How about your colleagues at UB?
Do you have any memories or stories about specific students or colleagues?
Are you a tenured faculty? Tell me about your experiences at UB when you were a tenure track faculty.
You’ve seen a lot of changes in the way teaching gets done and in the way the institution organizes itself. What observations you might like to share about those changes as UB has moved forward?
Did you have any administrator role at UB?
What University committees have you served on during your time at UB?
Is there anything else you’d like to say about your career as you look back on it and your time at UB?

School atmosphere

What are your thoughts and observations of diversity at UB? How has the concept of diversity changed since you’ve worked here?

Choose at least 10 questions from the examples above. Add any other questions to your interview if necessary. Be ready to make any follow up questions based on your conversation with the interviewee.

5. Practice interviewing.

Make a personalized checklist

6. During the interview:

For example, “This is (your name). It is May 25th, 2020, 3 pm. I am with professor … via the online platform Zoom and we are beginning our oral history interview”
Example, “The purpose of the UB Stories: 100th anniversary oral history project is to celebrate the University’s centennial by preserving the memory of those influenced by The University of Baltimore over the years. We will be creating a digital exhibit and making the recordings available online through the Internet Archive.”
Actively listen and pay attention
It is best to speak one at a time
Allow silence during the interview. Silence gives the interviewee some time to think.
Ask one question at a time.
Before moving on to the next question, make sure your current question is answered completely.
Unless you are looking for short answers, facts, ask open-ended questions that can be answered in a longer essay.
Begin the interview with basic questions and progress to more probing ones as the interview goes on.
Let the interview end on a lighter note. Do not abruptly end a discussion that has been intense.
Limit interviews to no longer than an hour and a half. [4]

7. After the interview:

Last Name First Initial Date of interview (yyyy/mm/dd)

SmithA20210412

Complete the field note form

Interview Field Notes Template

Full Name of Interviewer:

Full Name of Interviewee:

Date of Birth ____________Place of Birth____________

Interviewee occupation:

Interviewee Ethnicity:

Interview Date:

Interview Location:

Filename of the interview:

Approximate length of interview:

Summary of the Interview:

Add any additional notes, such as an explanation of specialized terms, correct spelling of names or places, any idiomatic words/phrases that you think the researcher might have difficulty understanding, or important themes or contextual information. [5]

Edit the transcript of the interview.
The project investigator should send a thank-you note to the narrator.

Thank You Letter Template

Thank you very much for your participation in the UB Stories: 100th anniversary oral history project. Interviews with you and other University staff and faculty will contribute to the University’s documented history.

We are currently transcribing and editing your interview. Once this work is completed, you will have the chance to review it and make revisions before the transcript becomes available on our website.

Once again, we are grateful for your contribution. [6]

The narrator should receive a copy of the transcript from the project investigator
Transfer the oral history files to the archives
The initial version of this template developed by (Fish and Wildlife Service, 2019) was modified for the purpose of this guideline. Retrieved from https://training.fws.gov/history/Documents/oral-history/Sample-Communcations-for-Interview-Planning-2019-03-04.pdf ↵
The initial version of this template developed by (Washington County Historical Society, n.d.) was modified for the purpose of this guideline. Retrieved from https://wchsutah.org/documents/Oral-History-Consent-Form.pdf ↵
The initial version of this template developed by (A Round Table of American Library Association, 2012) was modified for the purpose of this guideline. Retrieved from http://www.ala.org/rt/sites/ala.org.rt/files/content/deed-of-gift-2012.pdf ↵
Film Study Center at Harvard University (1999). Retrieved from http://dohistory.org/on_your_own/toolkit/oralHistory.html ↵
The initial version of this template developed by (Andrea L’Hommedieu,2008) was modified for the purpose of this guideline. Retrieved from https://library.bowdoin.edu/arch/george-j-mitchell/oral-history/OralHistoryManual%20Mitchell%202011May.pdf ↵

A Guide to Conducting Institutional Oral History Projects in Classrooms Copyright © by Fatemeh Rezaei is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Common Oral History Interview Questions

1. how do you ensure accuracy and authenticity when documenting oral histories.

Capturing the essence of personal narratives while maintaining factual integrity is a delicate task in documenting oral histories. It requires a balance between being a passive recipient of information and an active participant in shaping how that information is conveyed and preserved for posterity. The focus here is on the candidate’s commitment to historical fidelity and their approach to validating and cross-referencing subjective memories with objective data, as well as ethical considerations like respecting the narrator’s perspective and ensuring their story is told truthfully and with dignity.

When responding, it’s important to outline a methodical approach: start by explaining how you prepare for interviews, including research and familiarization with relevant historical context. Describe the techniques you use during interviews to encourage detailed, candid responses. Emphasize your strategies for cross-checking facts, such as consulting archives, public records, or other oral accounts, and mention how you handle discrepancies. Lastly, discuss how you ensure the narrator’s voice remains central, while also meeting scholarly standards of accuracy and reliability.

Example: “ To ensure accuracy and authenticity in documenting oral histories, I begin with meticulous preparation, immersing myself in the historical context and existing literature related to the subject. This foundational knowledge allows me to ask informed questions and recognize nuances in the narrator’s responses. During interviews, I employ open-ended questions and active listening to facilitate a narrative that is both rich in detail and reflective of the narrator’s experiences and perspectives.

For verification, I triangulate the information gathered with archival materials, public records, and other oral accounts, addressing any discrepancies through further investigation or follow-up interviews. This multi-source approach not only reinforces the factual basis of the oral history but also situates individual stories within a broader context. Throughout this process, I am careful to preserve the narrator’s voice and perspective, ensuring that the authenticity of their account is not compromised by the interpretive act of creating a historical record. By adhering to these practices, I maintain scholarly standards of accuracy and reliability while honoring the integrity of the oral history tradition.”

2. Describe your approach to overcoming language barriers in oral history interviews.

Successfully overcoming language barriers in oral history projects is crucial for preserving the integrity and authenticity of the narrative. It demonstrates a commitment to inclusivity and respect for diverse voices. Candidates should be prepared to discuss strategies for facilitating clear and accurate communication, which is essential to the documentation and preservation of historical accounts.

When responding to this question, highlight your experience with language diversity and your use of interpreters, translation tools, or language learning to facilitate interviews. Emphasize your patience, active listening skills, and cultural sensitivity. Describe specific instances where you’ve successfully navigated language barriers, ensuring that the essence of the story was not lost in translation. Show your commitment to ethical storytelling by emphasizing the importance of accurately representing the interviewee’s voice and experiences.

Example: “ In overcoming language barriers during oral history interviews, I prioritize the authenticity of the narrator’s voice, ensuring it remains unaltered through the translation process. My approach involves engaging skilled interpreters who are not only fluent in the language but also deeply familiar with the cultural nuances and idiomatic expressions of the narrator’s background. I work closely with these interpreters before interviews to discuss the project’s objectives and the historical context, enabling them to convey the full depth of the narrative.

In instances where interpreters are involved, I employ a collaborative method, where after the interview, we review the translations together to confirm accuracy and to make sure that the essence of the testimony is preserved. This meticulous review process often reveals subtleties that might otherwise be missed. Additionally, I utilize translation tools as supplementary aids to cross-verify the interpreter’s work, ensuring that the final transcript is a faithful representation of the interviewee’s story. This approach has enabled me to successfully document oral histories across language barriers, maintaining the integrity and richness of each individual’s account.”

3. What strategies do you employ for engaging reluctant interviewees?

Strategies to coax narratives from hesitant interviewees are essential for effective oral historians. This question probes the candidate’s interpersonal skills, empathy, and adaptability, revealing their methods for creating a safe and inviting environment that encourages candid dialogue.

To respond, you should highlight your patient and non-judgmental approach, with examples of how you’ve previously built rapport and trust. Discuss techniques such as active listening, reaffirming confidentiality, and explaining the value of the interviewee’s contribution to the historical record. Illustrate your ability to adapt to different personalities and cultural backgrounds, using subtle cues to guide the conversation toward topics that ignite the interviewee’s passion or interest.

Example: “ Engaging reluctant interviewees requires a tailored approach, recognizing that each individual’s hesitancy stems from unique concerns or experiences. In past oral history projects, I’ve found that establishing a rapport through active listening is paramount. This means prioritizing the interviewee’s comfort by allowing them to set the pace of the conversation and showing genuine interest in their stories, which often helps to lower barriers. Additionally, I ensure that I communicate the significance of their narratives in the broader historical context, which can empower them to see the value in their participation.

Another key strategy is reinforcing the confidentiality of the process and their control over the information they choose to share. I’ve observed that when interviewees understand they can shape their contribution, they are more inclined to open up. Furthermore, I pay close attention to non-verbal cues and adjust my approach accordingly, often finding an entry point through less sensitive topics that they are passionate about. This can lead to a gradual and natural progression into more substantial discussions, as trust is built and the interviewee becomes more comfortable with the process.”

4. In what ways do you preserve the emotional context of a narrative during transcription?

Maintaining the essence of the story, the tone of the speaker, and the subtle cues that convey deeper meanings is crucial in the transcription process. A skilled oral historian understands that the way a story is told carries as much weight as the words themselves. The question aims to discern whether the candidate possesses the sensitivity and attention to detail required to preserve the human element in oral histories.

When responding to this question, it’s important to demonstrate an understanding of the nuances involved in transcription. Discuss the techniques you use to capture the emotional context, such as detailed notation of non-verbal cues, ensuring the speaker’s voice remains central in the text, and reflecting on the ethical implications of interpretation. Mention any specific software or annotation systems you employ to ensure accuracy and how you collaborate with narrators for clarification without altering the original sentiment. Your answer should convey a respect for the source material and an awareness of the historian’s role as an intermediary between the subject and the future audience.

Example: “ Preserving the emotional context of a narrative during transcription is a delicate task that requires attention to detail and a deep respect for the source material. I employ a meticulous approach to notation, capturing not only the spoken words but also the pauses, intonations, and inflections that convey the speaker’s emotional state. This includes annotating laughter, sighs, and changes in speech tempo, which are all critical in conveying the narrative’s emotional depth. When necessary, I use phonetic symbols to accurately represent unique speech patterns that contribute to the emotional tone of the narrative.

In addition to these technical aspects, I engage in a reflective practice that considers the ethical implications of transcription. I strive to keep the speaker’s voice central in the text, recognizing that my role is to facilitate, not reinterpret or overshadow the original expression. This often involves collaborating with the narrator for clarification, ensuring that any ambiguities are resolved in a way that maintains the integrity of their emotional expression. I utilize software with advanced annotation capabilities to ensure that these nuances are clearly marked and remain an integral part of the transcribed record, thus allowing future audiences to experience the narrative as authentically as possible.”

5. Detail your experience with digital archiving tools specific to oral history collections.

The use of digital archiving tools is essential in ensuring that personal narratives are safeguarded and made accessible while honoring their original form. This question seeks to determine if the candidate has the technical skills and understanding of the unique challenges associated with cataloging and maintaining oral histories.

When responding, a candidate should provide specific examples of digital archiving systems they’ve used, such as OHMS (Oral History Metadata Synchronizer) or CONTENTdm, and discuss their experience with metadata standards relevant to oral histories, like Dublin Core. Additionally, they should discuss their approach to issues like digital preservation, access, and the ethical considerations of working with personal narratives. Highlighting any challenges faced and how they were overcome, including adapting to new technologies or addressing the needs of various stakeholders, will demonstrate a well-rounded understanding of the role digital tools play in oral history work.

Example: “ In managing oral history collections, I have utilized the Oral History Metadata Synchronizer (OHMS) to enhance accessibility and user engagement. My experience with OHMS involved indexing lengthy interviews, synchronizing transcripts, and creating a searchable interface that allows users to locate specific segments of audio or video recordings. This process not only improved the discoverability of the narratives but also honored the participants’ stories by making them more accessible to researchers and the public.

I have also worked extensively with CONTENTdm for the digital archiving of oral histories, focusing on the application of metadata standards such as Dublin Core to ensure that each item is properly described and easily retrievable. This included the careful consideration of ethical implications, such as the right to privacy and informed consent, when tagging and sharing personal narratives online. In doing so, I have navigated challenges like the digitization of fragile analog media and the implementation of digital preservation strategies to safeguard the longevity of the collections. My approach has been proactive, addressing potential technical issues and ensuring that the digital archives remain relevant and usable for future generations.”

6. Have you encountered ethical dilemmas while conducting oral histories? If so, how did you handle them?

Handling ethical dilemmas with care is crucial for oral historians who capture deeply personal narratives that may involve traumatic events or confidential information. The ethical considerations in such work are paramount, as the historian has a responsibility to both accurately document the participant’s story and protect their well-being and privacy.

When responding to this question, you should recount specific instances where ethical challenges arose during your research. Detail your decision-making process, emphasizing how you weighed the importance of historical accuracy against the need to respect your subject’s privacy and emotional state. Discuss any steps you took to obtain informed consent, protect identities when necessary, and the measures you implemented to ensure that the retelling of these histories did not cause harm. Your answer should reflect your ability to anticipate potential ethical issues and your commitment to addressing them with sensitivity and professionalism.

Example: “ Yes, ethical dilemmas are inherent in the practice of oral history, given its personal and often sensitive nature. In one particular project, I interviewed a participant who shared information about a controversial event that involved living third parties. This presented a challenge in balancing the historical value of the testimony against the potential harm it could cause to the individuals mentioned. To navigate this, I first ensured that the participant fully understood the implications of their account being on the public record through a detailed informed consent process. I then anonymized identifying details of the third parties to protect their privacy without compromising the integrity of the historical record.

In another instance, a narrator became emotionally distressed while recounting a traumatic experience. Recognizing the ethical imperative to do no harm, I paused the interview to allow the individual to regain composure and offered to stop the interview altogether. After a discussion, the participant chose to continue, but I remained vigilant about their well-being, ready to halt the process if needed. These experiences underscore the importance of ethical reflexivity in oral history, where the historian must continuously assess and respond to the evolving dynamics of the interview process with empathy and ethical rigor.”

7. Which oral history project are you most proud of, and why?

Revealing a candidate’s most prized oral history project can illuminate their passion for the craft and their commitment to preserving and interpreting narratives that shape cultural and historical consciousness. The response to this question can highlight the candidate’s ability to connect deeply with interview subjects and translate raw conversations into coherent, compelling narratives.

When responding, one should highlight the specific project that resonated most personally or professionally, detailing the challenges overcome and the impact the work had on both the subjects and the audience. It’s important to articulate how this project exemplifies one’s skills in research, interviewing, and narrative construction, and to reflect on the lessons learned through the process that have refined one’s approach to oral history.

Example: “ The project that stands out most in my experience involved documenting the narratives of indigenous communities whose stories were at risk of being lost due to rapid cultural and environmental changes. This project was particularly challenging due to the sensitive nature of the stories and the trust that needed to be established with the community members. By utilizing a participatory approach, I was able to engage with the community in a manner that respected their autonomy and cultural practices, while also ensuring the authenticity and depth of the oral histories collected.

The success of this project was not only in preserving valuable cultural heritage but also in the way it empowered the community by giving them a platform to share their history in their own words. The oral histories collected have since been used in educational settings, providing a rich, primary source for understanding the nuanced experiences of these communities. This project honed my skills in ethical storytelling and highlighted the importance of oral history as a tool for social justice. It reinforced the necessity of approaching each interview with sensitivity, thorough preparation, and an awareness of the broader implications of the narratives we help to preserve and disseminate.”

8. Outline your process for preparing and researching before an oral history interview.

The preparation and research process is vital to ensure the narratives collected by oral historians are rich, informed, and contextually accurate. This question delves into a candidate’s diligence, thoroughness, and respect for the subject matter and the interviewee, as well as their ability to connect individual stories to larger historical frameworks.

When responding to this question, candidates should outline a multi-step process that begins with understanding the historical context of the interviewee’s experiences. They should talk about how they identify and review relevant literature, historical records, and any prior interviews. It’s important to mention how they establish a rapport with the interviewee, perhaps through preliminary meetings or correspondence. They should also explain how they formulate open-ended questions that prompt storytelling while remaining flexible enough to follow the interviewee’s lead. Lastly, candidates should touch on ethical considerations such as informed consent and the sensitivity to the interviewee’s comfort and boundaries.

Example: “ My preparation for an oral history interview begins with a deep dive into the historical context surrounding the interviewee’s experiences. This involves a thorough review of pertinent literature, archival materials, and any existing interviews or recordings that provide insight into the era or events in question. This foundational research ensures that I approach the interview with a comprehensive understanding of the subject matter, which is crucial for asking informed and relevant questions.

Next, I prioritize establishing a rapport with the interviewee, which often involves preliminary meetings or thoughtful correspondence. This step is critical in building trust and creating a comfortable environment for the interviewee to share their story. I then develop a set of open-ended questions designed to encourage detailed storytelling, while remaining flexible enough to pursue new avenues of discussion that may arise naturally during the conversation. Throughout this process, I am acutely aware of ethical considerations, ensuring that informed consent is obtained and that I am sensitive to the interviewee’s comfort levels and boundaries. This ethical mindfulness not only respects the interviewee’s agency but also enhances the authenticity and depth of the oral history being recorded.”

9. How do you maintain objectivity and minimize bias as an interviewer?

Presenting stories with minimal personal influence is key to maintaining the integrity of oral history. Candidates should recognize their own biases and have strategies to mitigate them, thereby maintaining the credibility and educational value of the historical record.

When crafting your response, it’s essential to articulate a clear understanding of objectivity and the potential for bias. Discuss specific techniques you employ, such as using a standardized set of questions, actively listening without leading the interviewee, and reflecting on your own preconceptions before and after interviews. Highlighting your commitment to continuous learning and seeking peer reviews to check for bias can also demonstrate your dedication to preserving the integrity of oral history.

Example: “ In maintaining objectivity and minimizing bias during oral history interviews, I employ a multi-faceted approach. I begin by constructing a standardized set of questions designed to elicit responses without leading the interviewee, ensuring that each participant is provided with the same framework for their narrative. This standardization helps to mitigate the introduction of my own biases into the interview process.

Active listening is another critical technique I use; it allows me to focus on the interviewee’s words without interjecting my own opinions or assumptions. Furthermore, I engage in reflective practice both before and after interviews, examining my preconceptions and how they might influence the interview. This self-awareness is crucial in recognizing and controlling for personal biases.

To ensure the integrity of my work, I seek peer reviews of my interview protocols and transcripts. This practice allows colleagues to identify any inadvertent bias that I may have missed, providing an additional layer of scrutiny. By continuously learning from peers and staying abreast of best practices in oral history, I strive to uphold the highest standards of objectivity in my interviews.”

10. What role does community involvement play in your oral history projects?

Active community participation in oral history projects lends authenticity and depth to the narrative, ensuring that the history documented is a tapestry of personal experiences and local lore. It also fosters a sense of ownership and pride among contributors and can lead to the discovery of hidden stories and perspectives.

When responding, emphasize your ability to engage with diverse groups and to create an inclusive environment that encourages individuals to share their stories. Discuss specific strategies you employ to build trust and rapport, such as attending community events, working with local organizations, or using social media to connect with potential contributors. Highlight your experience in facilitating conversations that allow community members to share their experiences comfortably and authentically. Demonstrate your understanding of ethical considerations in oral history, such as informed consent and respectful representation of participants’ narratives.

Example: “ Community involvement is the cornerstone of successful oral history projects as it ensures that the narratives collected are not only diverse and representative but also deeply rooted in the lived experiences of the individuals within the community. To foster this involvement, I prioritize building trust and rapport through active engagement with community members. This often involves collaborating with local organizations that serve as gatekeepers and have established relationships with potential participants. By working alongside these groups, I am able to create a platform where individuals feel their stories are valued and will be handled with the utmost respect and sensitivity.

In my approach, I also utilize social media and other digital tools to reach a wider audience, ensuring that the invitation to participate is extended to those who might not be reached through traditional methods. This strategy has proven effective in democratizing the process of historical documentation, allowing for a richer tapestry of voices. Ethical considerations are paramount; I am meticulous in obtaining informed consent and transparent about the intentions and potential uses of the oral histories collected. Moreover, I am committed to a respectful representation of participants’ narratives, acknowledging their ownership of their stories and the importance of their contributions to the historical record.”

11. Describe a situation where you had to interpret non-verbal cues in an interview.

Interpreting non-verbal cues is an essential skill for oral historians, as these cues can offer a wealth of context and emotion that enriches the narrative. The interviewer is assessing the candidate’s emotional intelligence and attentiveness to detail in understanding and documenting the full spectrum of human communication.

When responding, it’s important to recount a specific instance that highlights your observational skills and your ability to decode silent messages. Explain the setting and the non-verbal cue you observed, then describe how you interpreted this cue and what actions you took as a result. For example, you might have noticed a subject’s discomfort when discussing a particular topic, leading you to gently probe for more information or to steer the conversation to a more neutral topic before circling back. Your answer should demonstrate not only your skill in reading body language but also your sensitivity and adaptability in managing the dynamics of an oral history interview.

Example: “ In one oral history project, I interviewed a war veteran who, when recounting his experiences, would often pause and look away at seemingly random intervals. I initially interpreted these non-verbal cues as moments of recollection, but as the interview progressed, I noticed a pattern; these pauses were particularly pronounced when discussing topics related to loss and camaraderie. Recognizing the potential emotional weight behind these silences, I adjusted my approach by allowing more space after his pauses, signaling that I was giving him time and that his comfort was paramount. This subtle acknowledgment of his non-verbal cues seemed to put him at ease, and as the interview continued, he shared more deeply about the emotional bonds formed during the war, which were crucial to the narrative.

My interpretation of his non-verbal cues and subsequent adjustment in interview technique not only respected the veteran’s emotional state but also enriched the oral history with nuanced insights into the psychological impacts of war. By reading these silent messages and responding with empathy, I was able to facilitate a more authentic and humane dialogue, which is essential in capturing the essence of oral history testimonies.”

12. How do you adapt your interviewing technique for subjects with memory impairments?

Adjusting approaches to gather accurate and comprehensive accounts from individuals with memory impairments is a unique challenge for oral historians. The question assesses the candidate’s sensitivity to the limitations of their subjects and their overall skill in navigating the balance between facilitating recollection and maintaining comfort and dignity.

When responding, it’s important to highlight your patient and respectful approach. Detail specific strategies you employ, such as using open-ended questions that prompt storytelling, providing cues or props to stimulate memory, allowing for pauses and reflection, and being mindful of the emotional impact recalling certain events may have. Demonstrate your understanding of ethical considerations and the importance of creating a supportive environment that prioritizes the well-being of the interviewee over the collection of data.

Example: “ In adapting my interviewing techniques for subjects with memory impairments, I prioritize creating a comfortable and supportive environment that fosters trust and encourages open communication. I utilize open-ended questions that facilitate storytelling rather than pressuring for specific facts or dates, which can often lead to frustration or anxiety for individuals with memory challenges. This approach allows the subject to share their experiences in a way that feels natural to them, often leading to richer, more nuanced narratives.

I also incorporate cues or props, such as photographs or familiar objects, to gently stimulate memory and provide a tangible context for discussion. This method not only aids in recollection but also helps to anchor the conversation in personal experiences. Additionally, I ensure to allow ample time for pauses and reflection, understanding that the process of recalling can be taxing and that some memories may surface slowly or in fragments. Throughout the interview, I remain vigilant to the emotional impact of reminiscence, ready to provide support or redirect the conversation if the content becomes distressing. The well-being of the interviewee is always paramount, and I am committed to conducting interviews with empathy and ethical sensitivity.”

13. Share an innovative method you’ve used to showcase oral histories publicly.

Balancing the authenticity of the voice with the accessibility of the content is a challenge for oral historians who aim to engage and educate their audience. This question seeks to understand the candidate’s creativity, familiarity with digital platforms, and their ability to adapt storytelling methods to contemporary audiences.

When responding, highlight a specific example where you employed an innovative approach. Detail the method you used, such as interactive online platforms, podcasts, or community-based projects, and explain why you chose it. Discuss the impact it had on the audience’s engagement and understanding of the oral history, as well as any feedback or measurable outcomes that resulted from your approach. Your response should demonstrate your technical savvy, your ability to think outside the box, and your commitment to bringing history to life for a wide audience.

Example: “ In an effort to make oral histories more accessible and engaging, I spearheaded the creation of an immersive audio-visual web experience that integrated first-person narratives with interactive maps and timelines. By using a storytelling platform that allowed users to navigate through the history geographically and chronologically, the oral testimonies were given a vivid context that resonated with a diverse online audience. The platform’s design was intuitive, encouraging exploration, and it included transcriptions and multimedia elements such as photographs and documents to enrich the experience.

This method proved highly effective in increasing engagement, as evidenced by a significant uptick in website traffic and time spent on pages featuring the oral histories. Feedback collected through social media and direct user comments highlighted the project’s success in enhancing the audience’s understanding and appreciation of the historical narratives. The interactive nature of the platform fostered a deeper connection between the stories and the users, resulting in a more impactful and memorable learning experience.”

14. What measures do you take to protect the privacy of your interviewees?

An interviewer’s query into privacy measures serves to assess the candidate’s commitment to confidentiality and their awareness of the ethical considerations inherent in documenting and sharing personal stories. It’s a test of both moral compass and professional practice in a field where subjects’ willingness to share often hinges on the assurance of respectful and discreet handling of their accounts.

When responding, it’s essential to highlight your adherence to established ethical guidelines and any legal frameworks that govern oral history. Discuss your protocol for obtaining informed consent, the steps you take to anonymize data where necessary, and how you ensure secure storage and controlled access to sensitive information. You might also talk about your approach to sharing the results of your work, whether through publications, presentations, or archives, and how you negotiate these with your interviewees to honor their privacy preferences.

Example: “ In managing the privacy of my interviewees, I adhere strictly to ethical guidelines such as those outlined by the Oral History Association, ensuring that informed consent is obtained before any interview is conducted. This consent process involves a clear explanation of the interview’s purposes, the ways in which the interview will be used, and the interviewee’s rights, including the right to withdraw from the project at any point or to request anonymity.

To protect their identities, I employ techniques such as pseudonymization, where necessary, to ensure that personal details are not publicly disclosed. Interviews are stored securely, with access restricted to authorized personnel only, and I am meticulous in maintaining the confidentiality of any sensitive information. When preparing materials for publication or presentation, I review content with the interviewees, allowing them to vet what information is shared, and to what extent, aligning with their comfort levels and privacy preferences. This collaborative approach ensures that the dissemination of oral histories respects and upholds the privacy and agency of each participant.”

15. How have you incorporated visual elements into your oral history presentations?

Enhancing the emotional and personal connection an audience can make with the subject matter using visual elements is a skill for oral historians. This question delves into the candidate’s ability to engage an audience using multimedia tools and their understanding of how visual aids can complement and reinforce spoken narratives.

When responding, it’s important to convey your recognition of the power of visual storytelling. Discuss specific examples of how you’ve used photographs, videos, artifacts, or infographics in past projects to bring stories to life. Explain the thought process behind selecting each visual element and how it served to underscore the themes or emotions of the oral history. Showing that you are thoughtful and deliberate in your choices demonstrates your skill in crafting a compelling, multi-sensory historical narrative.

Example: “ Incorporating visual elements into oral history presentations is crucial for creating an immersive experience that resonates with the audience. For instance, when presenting a narrative on the civil rights movement, I integrated iconic photographs from the era that captured pivotal moments, such as the March on Washington. These images not only provided historical context but also evoked the emotions and atmosphere of the time, making the oral testimonies more powerful. The selection of each photograph was deliberate, chosen for its ability to visually represent the struggle and triumphs conveyed through the spoken words.

In another project focusing on the impact of industrialization on local communities, I used a series of infographics to illustrate demographic and economic changes over time. These visual aids were designed to complement the oral histories by providing a clear, concise representation of complex data, enabling the audience to grasp the scale of transformation that the narratives described. By aligning the visual content with the themes of the oral histories, I ensured that each element enhanced the overall storytelling, allowing the audience to engage with the subject matter on multiple levels.”

16. Discuss a time when you had to verify controversial or disputed historical accounts.

Meticulous research, cross-referencing, and a commitment to objectivity are required when verifying contentious accounts or those lacking consensus. This question reveals the historian’s research methodology, ethical considerations, and capacity for critical thinking in constructing a credible portrayal of the past.

When responding, share a specific example that showcases your expertise in dealing with historical controversies. Describe the steps you took to authenticate the information, such as consulting primary source documents, interviewing eyewitnesses, or corroborating with secondary sources. Emphasize your dedication to accuracy and the strategies you use to remain impartial. Your answer should reflect an understanding that history is often a complex tapestry of perspectives, and your role is to untangle the threads with care and precision.

Example: “ In one project, I encountered a contentious oral account regarding a local labor strike in the 1960s, where narratives diverged significantly between former company officials and the workers involved. To navigate this, I first cross-referenced the oral testimonies with available primary sources, including newspaper archives, company records, and police reports from the time. This allowed me to establish a factual framework around the events.

Next, I conducted a series of follow-up interviews, not just with direct participants, but also with community members who provided a third perspective. By overlaying these accounts with the established timeline, I was able to discern patterns and inconsistencies. Throughout this process, I maintained a rigorous methodological approach, ensuring that each piece of information was weighed for its provenance and reliability. The triangulation of these sources ultimately led to a more nuanced understanding of the strike, one that acknowledged the complexity of historical memory and the importance of balancing diverse narratives.”

17. How do you address power dynamics between interviewer and interviewee?

Navigating power dynamics to ensure that the interviewee feels comfortable sharing their story is a critical skill for oral historians. The interviewer’s ability to manage these dynamics speaks to their professionalism and ethical consideration, ensuring the authenticity of the historical account.

When responding, it’s important to articulate a clear understanding of the inherent power imbalance in any interview setting. Discuss strategies you employ to minimize this, such as practicing active listening, being aware of body language, asking open-ended questions that encourage detailed responses, and setting a tone of mutual respect from the outset. Highlight any specific experiences where you successfully managed these dynamics, and reflect on what you learned from those interactions.

Example: “ In addressing power dynamics between interviewer and interviewee, I prioritize establishing a space of mutual respect and collaboration. Recognizing the inherent imbalance, I employ active listening and maintain a conscious effort to ensure that the interviewee feels heard and valued. This involves attentive body language, nodding, and verbal affirmations that validate their experiences without leading or influencing their narrative.

To further mitigate power imbalances, I craft open-ended questions that serve to empower the interviewee, allowing them to steer the conversation and delve into their story with autonomy. This approach not only elicits richer, more nuanced responses but also positions the interviewee as the expert of their own experience. In practice, I’ve found that beginning with broader questions and progressively narrowing the focus helps interviewees to open up organically, which fosters a sense of shared authority in the storytelling process. Reflecting on past interviews, it is this careful balance of guidance and deference that has enabled me to capture oral histories with the depth and authenticity that they deserve.”

18. What is your strategy for ensuring diverse perspectives within an oral history project?

Emphasizing the inclusion of varied perspectives is crucial for oral historians to capture the full scope of the historical narrative. Interviewers assess a candidate’s commitment to comprehensiveness, their awareness of potential biases, and their ability to engage with different communities.

When responding to this question, highlight your proactive measures to identify and include a range of voices. Discuss your approach to research and outreach, ensuring you tap into different networks and groups. Detail how you would actively seek out underrepresented voices and create a safe and respectful environment for them to share their stories. It’s also beneficial to mention any strategies you have for verifying the information and cross-checking facts to preserve the integrity of the project.

Example: “ In ensuring diverse perspectives within an oral history project, my strategy begins with meticulous research to map out the various communities and stakeholders connected to the historical narrative in question. Recognizing that every community has multiple layers and intersections, I prioritize reaching out to organizations, local leaders, and social groups that represent the breadth of those experiences. This involves not just a passive invitation to participate, but an active engagement process where I seek to understand the barriers that might prevent individuals from contributing their stories and work to dismantle them.

To create a safe and respectful environment, I employ culturally sensitive interview techniques and establish trust through transparency about the project’s goals and how the stories will be used. This includes a clear consent process and a commitment to participants’ control over their narratives. Furthermore, I incorporate a rigorous verification process, triangulating the oral accounts with available historical records and other oral histories when possible, to ensure the project’s integrity. This approach not only enriches the historical record but also fosters a more inclusive and accurate portrayal of the past.”

19. How do you handle emotionally charged or traumatic stories during interviews?

Fostering a collaborative environment with parents and guardians can enhance a student’s learning experience. The ability to communicate effectively and build relationships with parents is about creating an alliance that works toward the mutual goal of the child’s success.

When responding to this question, emphasize your proactive communication skills, your ability to listen and empathize, and your strategy for involving parents in their child’s education. Share specific methods you use to keep parents informed and engaged, such as regular newsletters, parent-teacher meetings, or digital communication platforms. Highlight any experiences where your communication efforts led to positive outcomes for a student, demonstrating the tangible benefits of these relationships.

Example: “ In handling emotionally charged or traumatic stories during oral history interviews, I prioritize creating a safe and respectful environment for the narrator. This involves establishing a clear understanding at the outset that the narrator has full control over the sharing of their experiences and can pause or stop the interview at any time. I employ active listening and empathetic responses to validate their feelings and experiences, acknowledging the weight of their narrative without pressuring them to divulge more than they are comfortable with.

Moreover, I am mindful of the potential for re-traumatization and ensure that appropriate support systems are in place, offering referrals to counseling services if necessary. Throughout the process, I maintain a delicate balance between the historical importance of the testimony and the well-being of the individual, ensuring that the collection of their story is not at the expense of their emotional health. My approach has consistently allowed narrators to feel heard and respected, often leading to a more open and authentic account of their experiences, which is invaluable to the integrity and depth of the oral history record.”

20. Share an example of how you’ve used oral histories to impact social change or policy.

Oral history projects can serve as powerful tools for advocacy and policy influence by providing firsthand accounts that traditional narratives sometimes overlook. Interviewers are assessing whether you understand the transformative potential of oral histories and can leverage them to inform and reshape social attitudes and policies.

When responding, focus on a concrete instance where you utilized oral histories to highlight a pressing social issue or contributed to policy reform. Discuss the process of collecting the narratives, the strategic thinking behind their use, and the outcome of your efforts. Emphasize how you ensured the stories had a platform, such as through public exhibitions, collaborations with advocacy groups, or presentations to policymakers, and the tangible changes that occurred as a result. This demonstrates not just your skills in oral history collection, but your commitment and effectiveness in using these stories as catalysts for social progress.

Example: “ In a project focused on the experiences of immigrants, I collected oral histories from a diverse group of individuals to shed light on the challenges they faced in the immigration system. By compiling these narratives, we created a compelling body of evidence that underscored the need for policy reform. These stories were strategically shared with advocacy groups and policymakers through a series of curated public exhibitions and private briefings. The emotional resonance of the firsthand accounts provided a humanizing lens on the statistics, which played a pivotal role in fostering empathy and understanding among stakeholders.

The outcome was significant: the oral histories directly influenced the dialogue around immigration policy, contributing to the development of a more compassionate approach to reform. A tangible result was the establishment of a community liaison role within the local government to address the concerns raised in the narratives, improving the support system for new immigrants. This initiative demonstrated the power of oral histories to not only preserve individual experiences but also to serve as a potent tool for advocacy and policy change.”

Getting Started with Oral History

Interview Forms and Templates
Oral History Principles and Practices
Oral History Equipment
Planning an Oral History Project
Conducting an Interview
Participating in an Oral History Interview
Preserving and Sharing Projects

Oral History Forms

Consent and Release Forms
Pre-Interview Template
Interview Log Template

It is strongly recommended that you and your narrator both sign a consent and release form. Even if you plan to keep your oral history project within your family or community, a consent form establishes, in writing, the consent of all participants to be recorded and for using the interview in publishing, online, transcribing and other uses. Explore the following examples of consent and release forms below. Please note that these forms in no way constitute legal advice.

Columbia University Release Form
Duke University Release Form
Duke University Creative Commons Release Form
Library of Congress Interview Release Form

The pre-interview is an informal, non-recorded conversation between the interviewer and narrator in advance of the interview itself. This is an opportunity to gather some background information, review questions, build rapport, get comfy with technology, and establish informed consent. You can use the template below to structure your pre-interview.

Oral History Pre-Interview Template A helpful guide for structuring a pre-interview conversation.

Some oral historians create a time log. This functions much like a table of contents in a book. Instead of chapters and pages, however, the time log gives you a brief description of important topics and the time stamps at which they occurred in the interview. You can use the template below to create a time log for your interview.

Oral History Interview Log Template Template used to break down recorded interviews into smaller sections.
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Oral History Toolkit for College Instructors: Assignments

Oral History Projects
Assignments

Integrated Group/Individual Assignments

The assignments listed here can be sampled from, extrapolated upon, or used wholesale, and the oral history project could be scaled to a week's worth of work during which students interview their peers or stretched over a whole quarter.

Brainstorming the Project [Learning Objective 2]

Have students bring to class at least two potential oral history projects they would like to pursue. Students should form groups of no more than four per group. Students should share their project ideas with each other. The rest of the group should offer feedback and historical information they might know about their group members’ projects.

Library Information Session [Learning Objective 1]

After students have decided on a project, the instructor should schedule a session with the Library on how to use TCC’s research materials including the Library’s website, collections, and archive. This session is meant for the class as a whole.

Working Bibliography [Learning Objectives 1-2]

Students should begin to conduct secondary readings. Have students provide a working bibliography of resources they are consulting for their project. The number of resources is up to the instructor’s discretion.

Identifying Primary Sources [Learning Objectives 1-2]

Students should provide the instructor with at least one primary source. Primary sources include TCC’s and UWT’s oral history collection, The News Tribune , TCC’s The Challenge , The Seattle Times , pictures from the era, political posters, and materials from TCC’s archive. Narrators should not be counted as primary sources for this assignment.

Group Comments; Locating a Narrator [Learning Objectives 2-3]

Students form the same groups from assignment 4a. They should share progress made from the first assignment and other group members should again offer feedback. Students should also identify at least one narrator they want to interview and why this person is relevant to the project.

Oral History Video Breakdown [Learning Objective 3]

During class, play a 15-minute clip of an oral history from TCC’s archive. Pause at critical points and explain to students these three major components: 1) Camera/audio angle and clarity; 2) Method of interviewing (interviewer’s voice, dialogue with narrator, and interviewer’s ability to develop questions based on new information revealed during the interview); 3) Language and organization of interview questions.

For No.3, provide students with the interview questions. This will allow them to see the respectful, yet probing language of the questions. They will also be able to see how questions build off from each other and are organized chronologically and thematically.

Open up a class dialogue with students by asking them if they thought the interview was successful. What in particular made the interview successful? Where was it weak? What could have been done to make the interview stronger? Did the interviewer do enough research? How can they tell? This dialogue can also be used to practice the skill of constructive criticism.

Depending on class time, this assignment can be handled either in one day or separated into two.

Drafting Interview Questions [Learning Objectives 2-3]

Students submit a draft of their interview questions based on research and informal conversations with the narrator. These questions can be evaluated from the same group as assignment 4a and 4e. Students should be mindful of chronology, themes, and not have assumptions built into the questions. A minimum of 15 questions is suggested for this assignment. Note to students that they should have more than 15 questions for the actual interview.

Optionally, instructor could require the draft to be revised after feedback and turned in again. This would work well as an assessment of growth in the student’s understanding of oral history interviewing.

Mock Interview [Learning Objective 3]

With a student volunteer, conduct a short mock oral history interview in front of the class. Within this interview ask the following questions:

i. What is your name?

ii. When were you born?

iii. When did you first attend TCC?

iv. Are you involved in student government?

v. If the student answers no: Why not?; If the student answers yes: Why?

vi. Don’t you want to make a difference?

Stop at question vi and ask the class what occurred here (embedded assumption and judgment of narrator). Ask students to rephrase a line of questioning that can draw out more information from the narrator regarding their work in student government or any other non-academic activities they are involved in.

Interview [Learning Objective 2-3]

Using the interview questions developed previously and the research conducted at earlier stages, conduct at least a .5 hour audio and/or video recorded oral history interview using the principles and practices observed and discussed previously.

Final Assignments [Learning Objectives 1-3]

There are two different types of final papers that can be assigned. The first is a reflection paper and the other is a research paper.

Reflection Paper (4-5 pages) [Learning Objectives 1-3]

This paper should focus on the student’s experiences throughout the project. The student should address the following themes:

1) The evolution of the project;

2) Processes and difficulties in research and question development;

3) The experience of conducting the interview. In particular, did the student have to improvise questions? Why or why not? What did the student learn about the narrator that wasn’t revealed during preparatory research?;

4) New knowledge gained by the student about their topic and history.

Research Paper (8-10 pages) [Learning Objectives 1-3]

The research paper is an argument-driven essay where the student discusses their historical topic using the oral history interview as the main source. Information from the interview must be complemented by secondary sources. The secondary sources serve the dual purpose of offering historical context for the narrator’s experiences (operating within history rather than outside of it) and to revise any errors in memory by the narrator. Both the oral history interview and secondary sources should present a more complex understanding about events in the narrator’s life rather than repeating the interview verbatim. The research paper should have an introduction, thesis, body paragraphs that support the thesis, conclusion, and works cited.

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A People's History of New York City

Samuel finesurrey, ph.d..

Oral History Project

Voices from the Heart of Gotham: The Assignment

How to conduct your oral histories .

You will conduct an oral history with someone in your social network (a family member or friend) about urban life based on a collection of questions put together by you and your classmates. Each student will be required to record an interview on their phone of at least 15 Mins.

Here is the Consent Form you and your interviewee must fill out: Consent Form

You must follow the procedures for a good interview found in the reading, Conducting Interviews and outlined in the next section. The central thing you are seeking is stories!!!

Choosing Someone to Interview

You will find one of your classmates, one of your family members, a community member, or a friend to interview. Ideally you will find someone who is strongly opinionated and a good talker. Also, try to make sure that person willing to donate this oral history to the Voices from the Heart of Gotham: The Undergraduate Oral History Collection at Guttman Community College

Preparing the Questions

Look over list of questions provided in the assignment and, if necessary, change the language to accommodate how you like to express yourself, or translate the questions into the language you will conduct the interview.
For instance, if you are interviewing someone who got arrested for peacefully protesting, you need to ask about that experience.
Avoid yes and no questions, the goal is to get stories from your interviewee.

Arranging a Meeting

Verify time/date/location of oral history interview with your interviewee (avoid loud places)
If the interview is over the phone or zoom, make sure they know you will be recording the interview.

Preparing the Interviewee

Make sure the interviewee fully understands the project or why you are interviewing them. Explain the purpose of your project and what you’re hoping to get out of your interview with them.
Share the questions with your interviewee beforehand to give them a chance to prepare.

Going Over the Consent Form

Explain the consent form in the language most comfortable to your interviewee.
If they are not comfortable sharing their story for legal or personal reasons, please try to find someone different to interview.
If you can’t find someone else, please let me know and we will figure out a different assignment. Your grade will not be negatively impacted. Your grade will NOT be impacted.
Typing your name is not sufficient to donate the oral history.
They MUST write or electronically sign their own signature.

Recording the Interview

You can record a zoom call, which is probably the easiest way.
Both iPhone and android phones have built-in software to record, however, if you are interviewing someone over the phone, which I would recommend unless they live in your household, you will either need to use two phones (One to record and the other to make the call on speaker phone) or download an application that allows you to record calls.
Practice using your recording equipment.
While the interview is going on make sure the equipment is working.

During the Interview

Speak in the language most comfortable for your interviewee.
Don’t be judgmental of their responses.
Try not to give positive or negative feedback.

Being an Active Listener

Give cues that you are listening.
Remember to ask follow-up questions. If their feels like there is more to what they are saying, ask them to share more.
Take notes on things you find interesting or important. This both helps you formulate follow-up questions and will remind you later of your preliminary thoughts.
After you finish, ask your interviewee if there is anything you should have asked but did not ask.
Ask if they would share a picture.
Ask them if they’re still comfortable sharing their interview.

After the Interview

Immediately jot down any thoughts or ideas you had from the interview.
Follow-up with the interviewee and send a note of thanks.
Send the interviewee a copy of the recording.

Submitting the Interview:

Set up a free dropbox account with your email address. If you already have a dropbox account that is full, please create a new gmail account to use for this project.
The recording of the interview
A Photo of the Interviewee
The Signed Consent Form
Share the folder with the email [email protected]

NOTE: It is totally acceptable—and in some instances encouraged—to record this oral history in another language, however, if the language is not Spanish, you are responsible for translating key quotes for your presentation and paper.

Script Options: Immigration and Migration to NYC NYC in Times of Pandemic, Injustice and Activism

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OHA Guidelines for the Evaluation of Oral Historians

The OHA’s Guidelines for Evaluating and Valuing Oral History Task Force (Mary Larson and Leslie McCartney co-chairs with Michael Franklin) developed this document based on the earlier work of former Executive Director Cliff Kuhn and the Oral History as Scholarship Task Force. These guidelines were adopted by OHA Council on January 9, 2023, and can also be found in PDF format HERE . 1

Executive Summary

The first purpose of this document is to inform and assist college and university administrators, department chairs, promotion and tenure committees, and/or other employers by: 1) developing an appreciation for the intellectual effort, research, expertise, and time required for conducting successful oral history projects; 2) demonstrating the value and unique work that oral historians do and the scholarly contributions that they make; and 3) providing points to consider when evaluating professional or academic oral historians for promotion, tenure, or other review purposes. The second purpose of this document is to assist oral historians in understanding how they can better contextualize their contributions within their organizations’ or employers’ rubrics for evaluation.

Definition: A pop culture understanding of “oral history” is very different from one grounded in academic standards. In scholarly contexts, oral history is a recorded, in-depth interview, based on considerable preliminary research and can also include Indigenous ways of knowing. The recording is preserved, made accessible to others, and interpreted. “Oral history” refers both to the interview process and the recorded product. Oral history practitioners seek knowledge about the past from the perspective of the narrator and constitute personal and community constructions of the past, of memories. It is a scholarly and interpretive act to both co-create an interview and give meaning and context to what is shared, and the practice of oral history is closely aligned with current discussions in the academy about public humanities and community engagement.

Evaluation: The work of oral historians extends across a broad continuum of practice, and at all stages of the oral history process there exist principles and best practices that have been codified by the Oral History Association. Being guided by these principles and best practices is fundamental. Many oral historians may hold multi-part appointments at academic institutions with workloads that weigh a combination of instruction, research, service, and/or outreach, depending on the campus and the role the individual plays within that entity. Depending on the institution, the following may be considered under different categories. Here are specific points to note for each area:

Instruction – It is important to recognize (and reward) the pedagogical work that oral historians do outside of normal campus classrooms. Their workshops for outside groups can be included in institutions’ community engagement efforts, and invited lectures are a recognition of expertise.
Research – Along with the preparatory research they conduct and the new knowledge that is created as a result of their efforts, oral historians produce both traditional and non-traditional outputs such as archival materials, monographs, book chapters, and journal articles but also exhibitions, digital history or storytelling projects, collaborative community work, publicly oriented products, and curated collections.
Service/Outreach – We outline criteria related to administrative contributions (including grant writing), contributions to the profession, and outreach/contributions to the general public (including community engaged collaborations and public scholarship). Be aware that building trust with communities takes time, and that should be taken into consideration in evaluations.

Criteria for promotion to the rank of full professor may vary from place to place but could involve creating activities that fall outside traditional academic departments and include collaborations with museums, historic sites, and local history groups in creating curated exhibits or being reviewed by peers familiar with community engagement.

Introduction

The past two decades have seen a great expansion of oral history within American colleges and universities, as manifested by numerous markers. Major academic presses have introduced oral history series in recent years or published extensively in the field. Oral historians are well-represented professionally across a wide range of disciplines. Some of their research is situated within traditional modes and expectations of scholarly production, while other work directly engages the particular attributes of oral historical sources, for example public scholarship, community engaged project outputs, and creative multimedia products. In addition to conventional scholarship (i.e. books, articles, and transcripts), oral historians have been involved in an ever-expanding assortment of projects and activities, including, but not limited to, work with libraries and archives, museum and online exhibitions, podcasts, archival collections, documentaries, performance pieces, public policy initiatives, and a range of community collaborations.

Another measure of oral history’s ubiquity is an emphasis on oral history at both undergraduate and graduate levels. As of 2022, more than half of the 136 graduate programs and approximately one-third of the 111 undergraduate programs listed in the National Council of Public History’s (NCPH) online guide to public history programs delineate oral history as a specific strength. In 2008, Columbia University established its interdisciplinary Oral History Master of Arts program, the first and still only master’s program in the country explicitly dedicated to the methodology. In addition, many professors include oral history-based assignments in classes not specifically designated as oral history courses. Often these assignments and courses serve to foster community-engaged research, experiential learning, and service learning among students.

Despite this proliferation of work across the continuum of oral history practice, oral history often remains overlooked and undervalued in tenure and review processes which frequently still emphasize single-authored monographs and articles. To help address this disconnect, and to encourage high-quality oral history work, this document provides an overview of the types of work oral historians do, along with associated best practices and evaluative criteria. It is designed both for practitioners themselves as well as colleagues, chairs, tenure and evaluation committees, university administrators, and other potential employers. It is intended for scholars across a range of disciplines in addition to history and for usage at multiple tiers of colleges and universities as well as other institutions.

The document joins an ongoing and evolving discussion about what constitutes scholarship. In recent years both the American Historical Association (AHA) and the Modern Language Association (MLA) have developed and approved more expansive definitions of scholarship. In 2017, the AHA, along with the NCPH and the Organization of American Historians updated the report, “Tenure, Promotion, and the Publicly Engaged Academic Historian,” the AHA has published its “ Guidelines for the Professional Evaluation of Digital Scholarship,” and the National Council on the Humanities recently developed a working paper on “Public Humanities and Publication.” 2 The document also joins a larger conversation about the role of the university itself, in particular with regard to the greater community, which includes such works as the 2008 report by Imagining America on “ Scholarship in Public: Knowledge Creation and Tenure Policy in the Engaged University ” and the online Daedalus collection, The Humanities in American Life: Transforming the Relationship with the Public . 3

What Is Oral History?

The term “oral history” has multiple popular meanings, as well as a more specific scholarly connotation. In everyday parlance, oral history can refer to any orally transmitted first-person narrative and is often used to describe a collage of spoken accounts about a given historical event. Most commonly, it refers to first-person stories about the past, perhaps epitomized by the recent phenomenon of StoryCorps. Frequently the term suggests a celebration of the ordinary, an authenticity, and a strong emotional connection between storytellers and their audiences.

For scholars, however, the term generally contains a more precise meaning, which can also include Indigenous oral practices and ways of knowing. In standard academic practice, oral history is above all else a recorded interview, an exchange between two parties, one of whom asks questions and one of whom answers them. Oral history is recorded, preserved, made accessible to others, and interpreted (although not necessarily all by the same individuals). As the OHA Principles and Best Practices state, “Oral history refers to both the interview process and the products that result from a recorded spoken interview (whether audio, video, or other formats).” Oral history interviewing is historical in purpose. It seeks information about and insights into the past from the perspective of the narrator. It is grounded in historical questions deemed of some significance by the parties involved. Oral history recognizes an element of subjectivity. Interviews constitute a personal construction of the past, of memories, not merely the factual itemizing of what happened. As Lynn Abrams writes in Oral History Theory , “It is the combination of oral history as an interactive process (the doing), and the engagement of the historian with the meanings that people ascribe to the past (the interpretation), that marks it out as a peculiar historical practice.” 4 Oral history stands apart, then, as a unique historical practice that is as much the negotiated intellectual exchange between narrator and interviewer as it is an interpretive act to give meaning and context to what is shared. As such, an oral history interview is an in-depth inquiry. It is not a casual conversation but rather a purposeful exchange that seeks to shed light on the past in a significant manner. Oral history stands at the intersection of numerous disciplines in addition to history: folklore, anthropology, and other fieldwork-based disciplines; communication, linguistics, rhetoric, and performance studies; archival, museum, and curatorial studies; documentary studies, public history, and digital humanities; memory studies and gerontology. Last but not least, oral history reflects people’s use of language and its expressive dimensions.

What Do Oral Historians Do?

The work of oral historians extends across a broad continuum of practice and entails both process and product. At all stages of the oral history process—before, during and after the interview—there exist principles and best practices that have been codified by the Oral History Association, the national professional organization for the methodology. In whatever institutional setting a scholar is located, guidance by these principles and best practices is fundamental, and they largely inform the following sections.

Before the Interview

Scholars conduct oral history interviews for multiple purposes. They may be seeking to augment their research in other sources. They might be interested in a particular figure of historical significance or a broader historical topic, for which oral history interviews are essential. They may be embarking upon a documentary project. They may be working with an archive or other entity within their institution to develop or increase a collection of interviews around a particular subject. They may be collaborating with a community group to chronicle the stories of people who may have been historically marginalized. They may be considering an oral history-based performance or digital production, or they may be generating a research collection of primary sources for other scholars to use.

Whatever the purpose of an interview or set of interviews, proper preparation is in order. If possible, practitioners should receive some training before conducting interviews. At the outset, prospective interviewers should try to be as clear as possible about their goals and objectives. What is the historical subject I am investigating? What is already known about the subject through other primary sources as well as the secondary literature? Why am I selecting these particular narrators and not others, and how is my selection consistent with my goals and objectives? How will my selection impact the documentary record? How will the oral history interviews qualitatively add to historical knowledge? Moreover, what are the potential usages of the interviews either by myself or others? Where will the interviews be deposited, archived, and how will they be made accessible?

In addition, prospective interviewers should select and become familiar with the best recording equipment within their means (including the use of remote technology) as well as a format (audio or visual) consistent not only with their goals and objectives but in formats acceptable to the archive or institution where they will be deposited. They should develop a line of inquiry and interview topics in advance. They also should develop, with prospective narrators, the purpose, general subject matter, and the anticipated or potential usages of the interview, as well as the rights of the narrator, and should prepare a legal release form as well as a consent form if required. The principle of informed consent is crucial to ethical oral history interviewing and best practices, whether or not such consent is documented in a paper format.

During the Interview

Throughout the interview process, interviewers endeavor to attain rapport, trust, equality, and mutuality. Going into an interview, interviewers should be cognizant of their own cultural assumptions, values, privileges, and biases. While an interview does not demand an impossible neutrality, it does require special awareness and self discipline, which oral historians cultivate as part of their training.

Interviewers should frame their questions within a language and context understood by the narrator. They should avoid asking leading, manipulative, or prejudicial questions. They should seek a balance between the objectives of the project and the perspectives of the narrator. They should not be satisfied with superficial answers but should ask clarifying questions and be open to using a variety of types of questions. Interviewers should attempt to extend the inquiry beyond the specific focus of the project to create as complete a record as possible for the benefit of others. Above all, interviewers should listen carefully, recognizing the importance of silence and keeping in mind both what has been said and how it has been said.

Interviewers must respect the rights of narrators to refuse to discuss certain topics, to end the interview at any time, and to restrict access to the interview, given legal limitations. They should also obtain a signed release form upon the completion of the interview.

After the Interview

Despite all of the work done in preparing for and conducting oral history interviews, as a rule, far more time is spent after the interview is completed. Digital copies of the recording should be made until it can be properly archived and preserved. Full transcripts, detailed summaries, or indexes need to be completed, along with a context statement and any follow-up commitments completed, if required. The repository will need to accession the recording and file the informed consent statement and/or deed of gift, along with any other documents, metadata, or photographs archived along with the oral history. Previous agreements regarding details of accessibility need to be implemented, and materials must be made discoverable unless otherwise restricted. This may involve cataloging or making the files digitally available through finding aids or websites. Curatorial and archival efforts and expertise are required at this stage of the process and in maintaining collections.

Oral historians and others can then begin to use the interview material in a number of ways, being cautious to avoid stereotyping and misrepresenting or manipulating the chronicler’s words. Oral historians strive to retain the integrity of the narrator’s perspective, verify information presented as factual, interpret and contextualize the narrative, appropriately frame any oral history excerpts, and provide correct citations to the location of the full oral history interview.

For many oral historians who work with communities (as well as for those who do not), seeking outside funding to sponsor projects is almost always necessary. Oral historians usually spend a great deal of time applying for funding to see projects through, therefore grant writing can take a large amount of the oral historian’s time. Depending on institutional guidelines, the collaborative nature of a project, and proposed project results, grant-writing activity could qualify under research, service/outreach, or instruction areas.

Many oral historians work with communities on oral history projects, and often the collaboration begins before the start of the actual project, as the oral historian may solely, or collaboratively, write grants to fund the project and be named as the Principal Investigator (PI) on the grant. Oftentimes oral historians will be the lead writer of grants where someone from the community organization is the PI. In almost all cases, these types of collaborations require a significant amount of time (sometimes years) to develop a relationship of trust, respect, and accountability. This time commitment by the oral historian may not be adequately rewarded if they are the grant writer and not the PI, but this work still needs to be recognized in a candidate’s file put forward for review.

Please find additional information on funding in service and outreach sections below.

Tenure and Promotion

[Note: While the following sections specifically address tenure and promotion requirements, they may also provide helpful information to non-tenure track faculty for contextualizing their own work.]

Many oral historians may hold multi-part appointments at academic institutions with workloads that vary on weighting between instruction, research, service, and/or outreach, depending on the campus and the role the individual plays within that entity. Recognizing that many colleges and universities have widely varying requirements, we advise oral historians to follow the guidelines of their institutions and units first. One of the purposes of this document is to help oral historians understand how they can better contextualize their contributions within their organization’s rubrics, especially at a time when the national scrutiny of tenure makes the legibility of public and organizational contributions of oral historians all the more important. At the same time, this statement aims to assist administrators and promotion and tenure committees in developing an appreciation for the effort, research, and expertise required for conducting successful oral history projects.

Instruction/Teaching: Some institutions have developed criteria for instruction, and oral historians should advocate for this process to include not just instruction to academic students but also to other audiences, as instruction/teaching for oral historians typically extends beyond the classroom and demands additional time and effort. This is particularly important as academic institutions focus more heavily on community engagement, and this is a specific area where faculty can use their instructional outreach to the public to help university goals. Along with providing pedagogical resources for discipline-based courses and serving as guest lecturers, oral historians frequently conduct instructional workshops and seminars for communities and organizations and prepare course modules for broad distribution, to both academics and the general public. Evaluation of instruction may include the following: narrative self-evaluation; peer/department chair classroom observation; peer/department chair evaluation of course materials; forms designed by the oral historian or granting agencies for the evaluation of workshops, seminars, or guest lectures; and testimonials from students and other audiences. Requirements will vary by institution, but oral historians should be cognizant of the role that public-facing instruction plays in an institution’s outreach and mission and should look at opportunities to highlight that along with their regular classroom instruction.

At many colleges and universities, instructional criteria for promotion to the rank of full professor may also include: the development or adaptation of new methods or pedagogical approaches in the discipline; receipt of university, state, or national teaching awards; student or other audience reviews; teaching evaluations that are constantly above average; and invitations as an instructor or speaker. Many institutions focus particularly on national reputation for promotion to full professor, so oral historians should pay attention to the specific requirements for their institution’s process.

Research: Oral historians bring their disciplined, learned practice to the exercise of their craft while interacting with various individuals and communities. They are ambassadors for their institutions and conduct research that results in the development of archived primary sources, thus creating the possibility of having a dual impact through the potential use of oral histories by both present and future scholars. Oral historians may use the interviews they collaboratively generate in their own works, but their research should be considered equally valid when they are producing collections of interviews for use and interpretation by others. (For thoughts on how curation features into the promotion and tenure process, please see “Service/Outreach” below.) The criteria for scholarly research may include both traditional and non-traditional outputs, such as monographs, book chapters, journal articles, edited transcripts, presentations or posters at professional meetings, exhibitions, interdisciplinary and digital history or storytelling projects, collaborative community-engaged projects, and publicly oriented projects and products. Many universities have begun adding language regarding creative components, digital projects, and collaborative and interdisciplinary work into their promotion and tenure guidelines in order to be able to capture these types of research outputs within their rubrics.

Research criteria for promotion to the rank of full professor will, again, depend upon one’s institution and the emphasis put on national (or state or regional) reputation. Examples of achievements or accomplishments that could be considered in this category may include, but not be limited to: being invited to make presentations at the state, regional, national, or international levels; receiving relevant research or project awards (generally from outside the state or university, for full professor); ongoing contributions to published research, creating or collaborating in creating a curated exhibit; being reviewed by peers familiar with community engagement that may fall outside of traditional academic departments including museums, historic sites, local history groups as well as with the professional standards as set out by Oral History Association.

Service/Outreach: Some institutions will consider this as one category while others will separate the two aspects. While “service” may focus on contributions to administration, professional societies, one’s institution, or society as a whole, “outreach” will usually be much more specific in denoting work done for or with the general public.

Universities with strong land-grant or extension missions may address outreach through a separate set of criteria, but the points below should be relevant regardless.

Administrative contributions – Because oral historians often create connections to communities, their collaborative work can lead to many more administrative tasks, such as writing additional grant applications (beyond a scholar’s individual research), drafting or negotiating memoranda of understanding between organizations, serving on local boards, or acting as a liaison between communities and outside institutions (at state, regional, or federal levels). These are considerable time commitments that are often required to build rapport with communities and show that an oral historian is willing to contribute their efforts for a longer, non-extractive relationship, so the impact of this work should not be undervalued. Oral historians whose institutions are involved with the Carnegie Community Engagement Classification process could reference their work from that perspective. The care, management, and contextualization of formally recognized collections may also fall under the administrative area of “service” activities, although in some institutions the curation of these collections could equally be considered under research or outreach or under a separate primary assignment. In whichever category this work falls, oral historians should take care to make a case for the amount of time and expertise required for curating collections that serve students, researchers, and communities at university, state, national or international levels. A wide variety of tasks may be involved with curation: maintaining, enhancing and enlarging collections via digital reformatting, archival upgrades, conservation, identification, or reparative description; adding to existing collections or creating new ones; interacting with state, federal, and community agencies on collection-related issues; promoting the use of collections via traditional and innovative means; creating exhibits, educational activities, and community outreach programs with collections; pursuing funding for curatorial work; developing new approaches to or theoretical perspectives on curation; and producing curatorial or collections-related publications, reports, or manuals.
Contributions to the profession – This category generally takes account of efforts made on behalf of professional organizations as well as scholarship or work that contributes to one’s field more broadly. Depending upon how an individual’s job description is written, those latter efforts may overlap with “Research,” but they could also include methodological contributions, such as technological advances, work on principles and best practices guidelines, or recommendations on processing or workflow. Service to the profession is often demonstrated through participation on committees or through election or appointment to leadership positions within related scholarly or professional organizations. For promotion to full professor, many institutions require contributions at national or international levels, and some will make an additional distinction between volunteer, appointed, or elected roles. It may be helpful for oral historians to specifically note elected or appointed positions because of the extra status conveyed.
Outreach/contributions to the general public – Community-driven and community-engaged projects are becoming increasingly important to institutional profiles as attention focuses more on how colleges and universities “give back” on local, state, and national levels. While land-grant universities have long had this expectation written into their founding missions, other public and private campuses have also been active in community outreach. As noted above under “Administrative contributions,” oral historians should take note of their institution’s possible participation in the Carnegie Community Engagement Classification 5 and highlight any public collaborations accordingly. It has always been common for oral historians to be engaged in community-based work, and this category is one area where individuals can expressly show how their efforts have contributed to larger institutional missions. “Outreach” could cover everything from public interpretation of research and scholarship, to collaborative community projects, to outward-facing exhibits, websites, and publications, to documentaries, podcasts, or blogs intended for the general public. This area will have significant overlaps with “Research,” “Instruction,” and curation (wherever that falls in a particular campus rubric).

In addition to the points noted above, promotion to the rank of full professor may often require, among other contributions: a record of active leadership in institutional, professional, and community spheres; receipt of awards (including OHA awards ), fellowships, or other recognitions (generally at a national level or above) invitations to consult or speak at state, national, or international levels; demonstrated evidence of continuing growth and currency in the field; and a record of ongoing, sustained, and increasing contributions in all areas.

1 This document is meant to be used in conjunction with the OHA Principles and Best Practices | Oral History Association and Archiving Oral History | Oral History Association .

2 See also the guidelines provided by the Broadcast Education Association for vetting documentary and other digital projects for tenure: https://www.beaweb.org/wp/guidelines-for-promotion-and-tenure-for-electronic-media-faculty-involved-in creative-work/ .

3 See particularly the essay by Susan Smulyan, “Why Public Humanities?”

4 Lynn Abrams, Oral History Theory , 2nd ed. (New York: Routledge, 2016), 18.

5 https://carnegieelectiveclassifications.org/the-2024-elective-classification-for-community-engagement/

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oral history reflection

Post author By EG (they/them)
Post date April 10, 2024
No Comments on oral history reflection

This was an interesting assignment. It was fun to interview a family member and to have them be apart of the assignment. I liked chatting about their life and learning things I didn’t know before, even though we’re a close family. I do, however, think that we should’ve been aloud to interview any person we know or a stranger if they’re willing. I don’t think I really explained to my family member where her information was really going or who would be reading it. But it wasn’t a deep interview, so I guess it’s fine. I think the writing prompt for the interview was good too. Its nice to do a compare and contrast to a family members life. It was also nice to hear other peoples interviews. The interview could have gone on a lot longer than ten minutes, but transcribing more than ten minutes would have taken a lot of time out of the assignment. Overall, I was better than I expected.

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Oral History

by Jarron Casero (he/him)
April 10, 2024 April 10, 2024

Oral History Proposal

I believe the person I can interview an oral history interview is my mother, who is the only person close to me who knows much in the country of the Philippines. For my father, he is not available for the moment. From what I know, I will certainly ask about religion, since it is a major part that almost all Filipinos treasure seriously because of Spanish dominance centuries ago. My mom would also tell me folklore stories about mythical creatures and anything supernatural, and most of them are scary, so I believe it’s a decent topic to add. Also, I will try asking how in her past times is so much different than it seems now, because back then I only knew that she used to be in a rural environment and worked as a farmer though was poor. And maybe the many traditions that lived on through the ages. I will try to find out how Philippines was affected by World War 2 since Imperial Japan used to invade the country. I will try and see to reach my father to see his perspective. I will probably use an audio recording for the oral history assignment with my own voice.

Oral History Transcript

Me: “Mom? Can I ask you a question? What was life back then in the Philippines when you were a child? Like how you lived, what society was like, and the environment?”

Mom: “When I was child, we were very poor. We were four siblings. My mom was the only one that worked for us but had no stable job. She just worked and harvested in the cornfield and did the laundry but there was no washing machine. There was no radio, no telephone, no electricity, no TV, we had nothing. There were radios but only the middle class could afford them. We also had no running water except we just fetch water from the river using a water wheel. We would use it for cooking.”

Me: “So does that mean life was terrible for you?”

Mom: “Yes! It was terrible! Your uncle Richard, who was 7 to 8 months old at the time, I was the one who had to take care of him. I was in grade 2 at the time but my mom would tell me to stop going to school because nobody would watch him except me, who was our youngest while my mom would harvest the corn and rice.”

Me: “Were you happy with your life despite it being hard sometimes?”

Mom: “When I was young, I didn’t feel the hardship until I was 7. My mom was teaching me to cook rice, but I was terrible at it, so sometimes it was not pleasant. I was still happy with my family though.”

Me: “What kind of food did you eat?”

Mom: “If we had the money, we would go buy some meat and fish. But if we had no money, we would have no choice but to eat rice with water and salt. Sometimes we would eat nothing at all. So my mom made a garden so we could grow plants and make food from them.”

Me: “Did you play any games?”

Mom: “No, nothing. No games. There were toys but we didn’t have enough money to afford them. The rich would only have something like that. The first time I saw rich children playing with toys that surprised me was a toy helicopter that could fly. I would stand by and see what they were doing, and I’d get jealous because me and my playmates also wanted to play with them, but we couldn’t because they had a housemaid that wouldn’t allow us to do that. So, all we could do was watch.

Me: “What about animals? Did you own any?”

Mom: “Yeah! We had dogs and cats and I’d play with them a lot.”

Me: “What about farm animals?”

Mom: “We had pigs, chicken, goats, but we didn’t have carabaos, which was a type of buffalo because they were expensive to buy.”

Me: “How about society? What was it like?”

Mom: “We were ignorant. We didn’t want to meet educated people who seemed higher than us. We were scared to face them, and we’d hide from them.”

Me: “Then what about the government? Was it good or bad?”

Mom: “The government was very poor. The currency at that time was different than now. 5 pesos was very big for us and the salary in jobs was 2 pesos for 8 hours. 100 pesos used to be an amount that we thought was really high.”

Me: “What was your impression when you first came to America?”

Mom: “Oh, I was really expecting America to really have high technology, because when I saw a movie of James Bond, the ground would open and come out like an elevator, but I realized it wasn’t like that. Somebody even told your dad that, ‘if you’re in America and going to school there, the machine would bring your things and you wouldn’t have to carry it yourself,’ but it wasn’t true also.”

Me: “So you were disappointed?”

Mom: “Yeah. But for the environment, it was so different compared to the Philippines. The streets were clean, but it wasn’t as populated. In Manila there would be a few million people there but there were so many areas that were so dirty and filthy. We’d called them a Squatters’ Area. But here, I knew America was rich because they’d help the poor and it was totally developed.”

Me: “Okay, thank you, mom, for answering my questions. That would be all.”

Oral History Summary/Analysis

I have interviewed only mom for this oral history session. At first, I wanted to do an audio recording to present to the class, but I decided to change my mind and go for a transcript. I have thought this through again that perhaps a recording wouldn’t really help properly capture information for the whole class to understand or come up with an idea and that it is better to word process all this information. I’ve asked my mom more from her perspective and personal history. I knew from where she was born, the country of the Philippines was a place of poverty but with great hardship to persevere for a better and successful life in a world of inconvenience. And since she was born in 1961, which is almost half of a lifetime’s worth of experience, I considered to ask of her past and what everything was like. I also never knew how it felt like to be born struggling and forced to work at a young age, so it was a great opportunity to learn this. There was also this disconnection between me and my mom because perhaps I didn’t really know much about her. I never made these kinds of questions before. But while we were doing the interview, she was very enthusiastic to answer so many of my questions in detail and everything that I did not even ask for, so it was a great help. I did an audio recording to help me write the transcript, but surprisingly it lasted for over 40 minutes, so it took a lot of time to put most of it in a transcript and leave the unnecessary details. She farmed, took care of her siblings, handled most of the responsibilities that an adult would do, had cheap housing, government was also poor. It was hard to make a living, but it didn’t stop my mom to live a happy life if the Philippines was more enjoyable than in the United States.

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COMMENTS

How to Do Oral History
After the Oral History Interview. 1. Download interview files onto your computer, following the instructions provided. 2. On your computer, rename each file by right clicking on file and selecting rename. Rename it in this format: LastnameFirstname_Date_Interview#_File#, for example, JonesSandra_04-30-2020_1. 3.
Oral History
A transcript of an oral history interview is, in the words of one style guide, "at best an imperfect representation of an oral interview. The transcriber's most important task is to render as close a replica to the actual event as possible. ... If your assignment asks you to make an argument, for example, about how the interviewee's ...
Guide to Conducting Oral History Interviews (Comprehensive)
Conduct oral history interviews with immediate family members. Take time to interview and compare your memories with those who have direct knowledge about the person. This can include siblings, parents, cousins, grandparents, and others. ... By virtue of this assignment, the Interviewer will have the right to use the Interview for research ...
Conducting an Interview
While an oral history interview can feel conversational, it's not a typical chat; all questions are aimed at the narrator. This interview structure can take some getting used to for all involved. TIP: Reviewing questions or topics of investigation during the pre-interview can help you and the narrator prepare.
PDF Oral History Interviewing Guidelines
Compiled by the UCLA Center for Oral History Research, August 2018 1 Oral History Interviewing Guidelines • An oral history is involves sustained listening. Listen closely and attentively to what the narrator says and then build on what they say with questions that allow them to give examples, context, clarification, etc. • An oral history ...
Stage 1: Preparing for the Interview
The content of oral history interviews is grounded in reflections on the past as opposed to commentary on purely contemporary events" ... (1 day or a certain number of hours) and the equipment will be in great demand if you are doing your oral history project as a class assignment.
Oral History Project Guide: The Interview
Background Research. Prepare for the interview by: draft a short biographical introduction of your interview subject; do background research on the time period or event you want to explore; make a list of open ended questions to ask during the interview; select the location of the interview; prepare any recording devices you plan to use for the ...
Planning an Oral History Project
Adapted from The American Folklife Center, Library of Congress, "Oral History Interviews: Family History and Folklife," 2015. Let your research guide you! Before sitting down with your narrator, create a list of key terms and phrases relating to the information you would like to learn. This outline will in turn guide your interview.
Oral History Interviewing with Purpose and Critical Awareness
Many think of oral history as one recorded interview stored in a library or an archive and left on a shelf. In this chapter, I propose an active view of oral history that appreciates the techniques of the past and moves into the digital era with a critical eye toward analysis and interpretation of the oral history interview or set of interviews.
Oral History Assignment
For this assignment, you will conduct a taped oral history / interview with another individual and submit a 2-3 page, double-spaced written account of that interview and a partial transcript. Interview. You can choose whomever you'd like to interview for this assignment. The topic of the interview is the "American Dream," but you can ...
Interview Guide
Start the interview with a statement of who, what, when, and where you are interviewing. For example, "This is (your name). It is May 25th, 2020, 3 pm. I am with professor … via the online platform Zoom and we are beginning our oral history interview". Explain the purpose of the interview and how you intend to use it.
Oral History Interviews
Overview. "First and foremost, oral histories can serve as content resources for students. Oral history interviews can provide richer and fuller accounts of important historical events than textbooks and other traditional sources can offer because of the interviews' personal nature. Not only do oral history interviews give voice to ...
Top 20 Oral History Interview Questions & Answers
My approach has consistently allowed narrators to feel heard and respected, often leading to a more open and authentic account of their experiences, which is invaluable to the integrity and depth of the oral history record.". 20. Share an example of how you've used oral histories to impact social change or policy.
Interview Forms and Templates
The pre-interview is an informal, non-recorded conversation between the interviewer and narrator in advance of the interview itself. This is an opportunity to gather some background information, review questions, build rapport, get comfy with technology, and establish informed consent. You can use the template below to structure your pre-interview.
Oral History Toolkit for College Instructors: Assignments
Interview [Learning Objective 2-3] Using the interview questions developed previously and the research conducted at earlier stages, conduct at least a .5 hour audio and/or video recorded oral history interview using the principles and practices observed and discussed previously. Final Assignments [Learning Objectives 1-3]
Oral History Project
You will conduct an oral history with someone in your social network (a family member or friend) about urban life based on a collection of questions put together by you and your classmates. Each student will be required to record an interview on their phone of at least 15 Mins. Here is the Consent Form you and your interviewee must fill out ...
Oral History Interview Assignment.docx
2/20/2023. 100% (1) View full document. Addison Nohr Feb-15-2023 Hist 300 (B03) Oral History Interview Assignment Interview Questions: 1. What is a family tradition passed down from previous generations that you can remember, and do you know where did it came from? 2.
OHA Guidelines for the Evaluation of Oral Historians
The OHA's Guidelines for Evaluating and Valuing Oral History Task Force (Mary Larson and Leslie McCartney co-chairs with Michael Franklin) developed this document based on the earlier work of former Executive Director Cliff Kuhn and the Oral History as Scholarship Task Force. These guidelines were adopted by OHA Council on January 9, 2023 ...
PDF Oral History
A transcript of an oral history interview is, in the words of one style guide, "at best an imperfect representation of an oral interview. The transcriber's most important task is to render as close a replica to the actual event as possible. Accuracy, not speed, is the transcriber's goal" (Baylor Style Guide).
PDF Prompt for Oral History Interview
Prompt for Oral History Interview Assignment You are to interview a migrant on his/her experience of childhood in her/his country of origin and the migration process. This person can be a fellow student, a family member, a neighbor, or some other person with the approval of the teacher. While some leeway is given to the interviewer as to questions
Oral History Interview Assignment.docx
Daniel Hipskind May 2, 2022 Professor Bixler HIUS341 Oral History Interview Assignment For the Oral History Interview Assignment, I interviewed my father, Dr. Philip Hipskind. He has a background in research development in the pharmaceutical industry at Eli Lilly & Co. for 30 years and is now a CEO of a small biotech company called Lgenia. He views himself as a Reagan-era Republican and has ...
Oral History Interview and Essay Assignment.docx
Oral History Interview and Essay Assignment Assignment: In your Autoethnography Essay, you discussed the critical details of your own biography that have shaped who you are and how you express yourself culturally or ethnically. The aim of that essay was for you to reflect on your own story and tell that story in a way that demonstrates how you relate to, critically reflect on, and analyze your ...
oral history reflection
oral history reflection. This was an interesting assignment. It was fun to interview a family member and to have them be apart of the assignment. I liked chatting about their life and learning things I didn't know before, even though we're a close family. I do, however, think that we should've been aloud to interview any person we know or ...
Oral History
by Jarron Casero (he/him) April 10, 2024. Oral History Proposal. I believe the person I can interview an oral history interview is my mother, who is the only person close to me who knows much in the country of the Philippines. For my father, he is not available for the moment. From what I know, I will certainly ask about religion, since it is a ...

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Martha Ross: The Six R's of Oral History Interviewing

Suggested Topics/Questions for Oral History Interviews

Guide to Conducting Oral History Interviews (Comprehensive)

1.What Are Oral History Interviews?

What are the types of oral history interviews?

2. What I Learned in the First Ten Oral History Interviews

Conduct oral history interviews with immediate family members

Oral interviews provide opportunities to locate family records

3. How to Begin Preparing for the Oral History Interview

Who should I include when writing an individual or family narrative?

Who should I interview for the narrative?

4. Oral History Interview Considerations

How many people should I interview at a time?

Should I audio record or video record an oral history interview?

Do I need to record the oral history interview?

What type of equipment do you need for a telephone oral history interview?

Can I use video conference software like Zoom for remote oral history interviews?

What do I need to know about digital recorders?

Can I use an analog tape recorder for recording the oral history interview?

What should I use for microphones when conducting an oral history interview?

Should I use batteries, wall plugs or others with my recorder?

What should I use to carry my recording equipment?

5. How to Set-up the Oral History Interview

How do I ask someone about participating in an oral history interview?

How do I prepare for the oral history interview?

6. How to Correct Oral History Recording Noise Problems

7. Getting Ready for the Oral History Interview

Should I try to conduct the oral history interview in one setting?

Do you ask all the oral history questions on your list?

What kind of last-minute preparations do you do for an oral history interview?

8. How to Conduct an Oral History Interview

Where should I set up an in-person oral history interview?

What should I say in the oral history introduction?

How should I set up my equipment and resources for the oral history interview?

How close should the microphone be?

Is there anything I should record before I start the oral history interview?

What are the best practices for conducting the oral history interview?

9. Use Open-Ended Questions in Oral History Interviews

What type of questions should I ask in an oral history interview?

Where can I find oral history questions that have already been developed?

Can you provide examples of oral history interview questions/outlines?

Married Life and Children

Middle Age and Toward Retirement

Personal Philosophy about Life in General

10. How to Get the Best Answers in Oral History Interviews

What are some best practices for conducting oral history interviews?

What should I do after an oral history interview is completed?

Are there any copyright issues related to oral history interviews?

Is there a form I can use for an Oral History copyright agreement?

11. How to Take Care of Recorded Oral History Interview

What should I do with an oral history interview digital recording?

What should I do with an oral history interview taped recording?

Should I create a transcript of every oral history digital recording?

What is the best way to transcribe an oral history interview?

How complete should the oral history interview transcript be?

12. Documenting Oral History Interview and Narrative

How do you sort out hearsay?

How can I add background information to the narrative?

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