Session

Abstract

At the same time that calls for non-traditional histories have strengthened in the twenty-first century as social media and digital networking tools have expanded, the Covid-19 pandemic cemented a need for historians to expand our definitions of source material, historiographical methods, and pedagogical techniques in our research and teaching. Demands for more interactive, creative, and interdisciplinary history with digital components have expanded at the same time as calls by conservative politicians for white-washed history have grown louder. Our panel seeks to generate discussion—indeed, active audience participation—on how historians can remain committed to unearthing histories of systemic inequalities, celebrating racial diversity, and challenging white supremacy within a shift towards more accessible history. Can we encourage learning history innovatively, even when, as historian Sam Wineburg argues, it’s already on our phones? (Wineburg, 2018). And if the history we are learning on our phones is “disrupting” the field (Steinhauer, 2021), in what ways is this shaping pedagogy and historiography? Our roundtable offers various perspectives on incorporating graphic, digital, and even entertainment-driven histories into our research through interdisciplinary methods while centering histories of racial injustice and resistance. To begin, both Alyssa Sepinwall and Kera Lovell offer perspectives on pedagogy, showcasing specific examples of assignments in which students are tasked with applying critical analysis to representations of history beyond the textbook. Sepinwall will begin by discussing her senior capstone seminar “Non-Traditional Histories.” She will focus on how she teaches suppressed histories (including slave revolts) using graphic histories, film and video games, and how these formats help students think about the limits of traditional archives and of traditional forms of presenting academic history. Next, Lovell shares their techniques in applying critical race theory to historically-themed board games and graphic histories as a way to target the university’s game design and film majors. The presentation explores the strengths and pitfalls of creative critical thinking, using examples of screenwriting from their women’s history class as well as board game critique experiences from their public history classes. Finally Julian Chambliss bridges the divide between the classroom and the broader public. Chambliss will consider the recent turn toward “diversity” in the Marvel Cinematic Universe, its relationship to racial history and the opportunities afforded by the trans media experience for teaching and learning. Marvel Entertainment has pursued more inclusive depictions of identity. These efforts have met with criticism from the conservative and liberal voices. Nonetheless, while failure(s) define the public discourse, from an educational perspective, these efforts call attention to the ways structural inequality evolves over time, offers moments of revelation and periods of retrenchment. Taken together, we aim for the panel to generate discussion on how we creatively diversify our historical methods in ways that center historically marginalized groups. Sam Wineburg, Why Learn History (When It’s Already on Your Phone) (University of Chicago Press, 2018).