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OHR Third EditionI am thrilled to report that my article The Affective Power of Voice: Oral History on Radio, has been included in the forthcoming edition of The Oral History Reader (Routledge 2015). This comprehensive anthology (722pp) is undoubtedly the most important collection of articles by the international community of oral history scholars and practitioners. I am humbled to be in the company of such giants of the genre as Sandro Portelli, Michael Frisch, Studs Terkel, Paul Thompson, Sherna Berger Gluck, Valerie Yow, Doug Boyd, Paula Hamilton, Steven High, Linda Shopes and of course the editors, Australia’s Alistair Thomson of Monash University and the UK’s Rob Perks of the British Library.

 

2015 has been a good year for publication of my oral histories. The City of Sydney has done a fine job of placing online the archive of interviews with residents at Millers Point Sydney, done by me and coordinating oral historian Frank Heimans back around 2006. These interviews capture the rich harbourside community life of one of Sydney’s oldest suburbs, where men worked on the wharves (stevedoring) under tough conditions, and women raised families in cramped public housing. One of my favourite quotes was a woman who laughed that yes they did have running water back then – you ran in to the laundry, filled a bucket, ran back out and threw it into the bath! There are also great interviews with sports journalist legend Frank Hyde, a gentle man with a lovely sense of humour who sings Danny Boy on the tape; Jack Mundey, trade union leader extraordinaire, whose Green Bans movement stopped the proposed demolition of these inner Sydney ‘slums’ and kept the community intact; and Bill Ford, who grew up swimming off the steps at the ‘Met’ wharf and went on to be part of the famous US Freedom Ride that was mimicked in New South Wales in 1965 in a push to end discrimination against Aboriginal Australians.

INA launch

With Denis O’Flynn, President INA, Dr Richard Reid, Michael Lyons and Dennis Foley at the launch of the INA Oral History, Nov 2015

My other big project this year brought me full circle: recording the oral histories of prominent Sydney Irish and Irish-Australian members of the Irish National Association (INA), which has its centenary in 2015. As an accidental Irish migrant who has now spent just over half her life in Australia, it was fascinating to hear stories of similar migrants, and what they felt they’d gained and lost in the process. The project explores how the INA upholds Irish culture and heritage, through activities around music, dancing, teaching the Irish language and maintaining an awareness of Irish history and politics, through events like the annual Easter oration at the wonderful Waverly cemetery monument, the St Patrick’s Day parade (revived in 1979) and the Famine Memorial event at Hyde Park Barracks each August. The interviews were commissioned by the National Library of Australia, which has placed some of them online in full. You can browse the timed summary, where a keyword or phrase will take you direct to the audio, and even provide a citation. Try Bishop David Cremin recalling how he held a controversial Requiem Mass for Bobby Sands, the first of the IRA hunger strikers to die in 1981. Or Maurie O’Sullivan, passionate Irish cultural advocate, describing how he talks Irish to his dogs and his horse to keep up his language skills! There is also Tomás De Bháldraithe, whose father wrote the first Irish-English dictionary, reflecting on the prominent role his family played in the public intellectual life of the nascent Irish state.

My next oral history project promises to be exciting and very different. It’s an investigation into the relational aspects of how contemporary Aboriginal art is produced, funded by the Australian Research Council. I’m part of a team with noted art historian Ian McLean and Indigenous Curator at the National Museum of Australia, the indefatigable Margo Neale. We’re seeking to understand how Indigenous artists work with non-Indigenous art centre staff and dealers, and in conversation with other artists, both Indigenous and non, and how these relationships affect the art that emerges. We’ve already visited two remote communities and it’s been a revelation. No wonder I love oral history – you get to hear the life stories of the most extraordinary people. And I agree with Studs – there are no ordinary people; just the uncelebrated. Let’s get celebrating!

Field research with Margo Neale and Prof Ian McLean

Field research with Margo Neale and Prof Ian McLean

Australian Generations is an epic oral history project – the most multi-faceted undertaken in Australia – and I’m proud to be part of it!

Project Leader Al Thomson (standing) with oral historians

A team of interviewers – some of the most experienced oral historians in the country, with thousands of interviews behind them – will gather 300 Life Story interviews from Australians born between the 1920s and 1930s to 1990.

Jeannine Baker, Rob Willis and Jo Kijas try out retro Sony mic

The aim is to document people’s life pathways over the last 90 years or so, and see how attitudes and experiences have changed over that time (or not). A key aspect is to explore what makes a generation actually identify AS a generation – it’s not just about having a common birth era, it’s about being shaped by seminal shared public events.

If you want to be involved and have YOUR story recorded for posterity, click here.

WANTED!

We’ve been swamped with applications from well educated middle-class women in their 40s and 50s (good on you) but now, to redress the balance, we’d REALLY like to hear from:

Young Blokes (20s and up)

Post-War Migrants

Working-Class Folk

The Induction Day at ABC Radio National in Sydney yesterday was instructive and fun. Kevin Bradley, sound preservation guru at the National Library of Australia, waxed lyrical on the project’s state-of-the-art recording equipment (called, not very imaginatively, Sound Device!).

Kevin Bradley, audio guru, explaining a cardiod microphone.

He talked us through its use – always strange for me, as a radio person, to move from one hand-held mic to a stationary mic per person. But oral history interviews being so long (2-2.5 hours in this case), in situ microphones prevent interviewer fatigue. The separate mics also record on  two distinct channels.

Besides audio engineering (don’t get him started on anechoic chambers or fluorescent lights!), Kevin specialises in making oral history AUDIO easily available online. We provide a timed summary of the interview, with keywords, and browsers can retrieve the relevant audio with a click. SO MUCH better than using those tired and misleading transcripts. As Kevin said, a transcript is just a map, whereas the audio recording is a whole landscape.

The oral history will be mined for a radio series by Hindsight EP and Project PI Michelle Rayner at ABC Radio National, and also drawn on for two books. It’s a great project, runs till end of 2013, so there’s plenty of time to put your hand up.

Imagine someone listening to the story of YOUR life in 2099!

Siobhan trying out Sound Device with interviewer Jill Kitson. I must remember not to hold the mic!

smchugh@uow.edu.au

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