engagement – Online Portfolio

Final Reflection

Building a prototype for Koreatowns in North Texas has been a challenging experience. This course has helped me to take a step back from the initial stages of my project and reconsider my audience. While learning about user-centered approaches to designing a digital project site, I encountered other challenges that I did not consider in the beginning. By studying the physical and digital spaces of a history museum, I was able to see things clearer. Also, studying various digital public history sites was very insightful. Learning about the different digital interfaces and digital tools, reading various scholarship on the digital public history, and testing digital public history sites have helped me to build a prototype.

I selected Omeka for the prototype because it was user-friendly and easy to navigate. It also allowed me to design my project site with creative freedom. The storyboarding technique, mentioned in Shawn Medero’s article “Paper Prototyping,” helped me to visualize the interface for Koreatowns in North Texas. In addition to storyboarding, I learned about the importance of testing and evaluating the prototype. I asked several people to visit Koreatowns in North Texas and provide feedback. Their comments helped me to see things that would be helpful for the audience when navigating the site. The comments from Dr. Leon were also helpful. My classmate’s review/feedback was helpful, but I think having more than one classmate to review the site would have been more helpful to gain more than one perspective.

Overall, I learned that building a prototype for a digital public history site is very challenging; yet the process is a great learning experience. This course has allowed to me explore things that I would not have done on my own such as building a prototype, accessing course materials, and learning different techniques to engage the audience. Since there is little information available online about the history and culture of Koreatowns and Korean Americans in North Texas, I was excited to build a prototype for the information to be available to the public. Finding time to take the images was a little bit challenging because I had to find the time to visit the places during the week and before sundown. After taking the images, I carefully selected the images that would be the best fit for the prototype. Before I learned to incorporate oral history into the prototype, I learned how to interview wonderful people who have close connections to the Korean American communities in North Texas. Another challenge that I encountered was the visual display of my images and text. I learned to experiment with different layouts of the images in Omeka. Writing short descriptions and narratives paved the way for me to understand my audience better. I had to consider the language usage and colloquialism, so I would not lose my audience to an abyss of words. Despite the challenges, I received so much support from the Korean American community. Finding the right people to interview was easy, but finding the time to interview them in person was a good challenge. Also, Dr. Sharon Leon has provided supportive and constructive feedback to lead me in the direction of learning something new in order to see the benefits down the road when I further develop my prototype.

Before the end of this semester, I revisited Michael Frisch’s article. In “From A Shared Authority to the Digital Kitchen and Back,” Michael Frisch explains the purpose of exploring: “Exploring, I think, is more interesting than searching, and it suggests a non-linear spatial imagination rather than a linear, tunneled one: one inhabits a space that is being explored rather than simply forging a narrowing path through it” (133). For my prototype, I came to a realization that I want the audience to explore instead of just search for information and images on the site. I want them to come away with some ideas or information that make them think about the reasons why Korean American history is rarely available online. Also, I hope their explorations and curiosities can help me to continue building the prototype. Ultimately, I want Koreatowns in North Texas to be our digital public history project by inviting people from different backgrounds and experiences to share in the building of the site as a community. The key to making the prototype available to the public would be an engaging collaboration with the audience. Echoing Corbett and Miller, “Honest sharing, a willingness to surrender some intellectual control, is the hardest part of public history practice because it is the aspect most alien to academic temperament and training” (36), I am steadily learning to take less control of my project and reconsider my audience. The question of “How do I engage my audience?” changed to “What are some changes that can be made to the prototype for audience engagement while connecting them to the purpose of preserving the history and culture of Koreatowns in North Texas and the Korean American experience?”

Project Progress Update

For this week, I am facing a few challenges with language conversion, oral history content in OHMS, and a possibility of changing the title of my Omeka site. After I added a plugin for the Korean and English language display, I noticed a few issues. After contacting Reclaim about finding a way to display Korean and English in Omeka, I was directed to contact Omeka support. I hope I will finally get my answer. I created another WordPress site in case I could not find a solution for Omeka. In WordPress, I was able to find some great plugins for language conversion and display. However, I decided to continue with my project in Omeka and worry about the language conversion later. I changed the language back to English only.

I have been struggling a little bit with OHMS. I viewed the video tutorials and read the tutorial guides; however, I just didn’t understand the procedure. I was able to add my interview with Dr. Zo, a first-generation Korean American, to OHMS. However, the audio recording does not appear in the Preview. Now, I have to figure out the problem, so I can link it to my Omeka site. The audio recording is currently available on my Omeka site. After removing my first interview, I decided to upload an interview from Youtube. It is an interview with a famous musician, Allen Toussaint, courtesy of the Library of Congress. Here is the updated link to my OHMS annotation activity: https://ohms.uky.edu/preview/?id=35461. Unfortunately, the video is not available for Preview even though I added the URL in the Metadata.

After interviewing two influential Korean Americans, I am contemplating if I should change the title from Koreatowns in North Texas to North Texas Korean Americans. The interviewees provided wonderful and inspirational narratives about their journey to America (Texas) and how they have contributed to their Korean American community. Each interviewee expressed his or her own passion for community involvement. They did mention Koreatown Dallas, but I am gradually realizing that I need to let go or release my control of the project’s initial direction and see it from an inclusive and audience centered objective.

My next steps include oral history management, addition of social media plugins, additional video recordings, and testing the site with volunteers. I will be uploading and transcribing the remaining audio recordings of the 2 interviews. Before I add the plugins for social media, I need to create a Facebook account for the project site and a Youtube Channel. For Facebook, I can add an image from the Omeka site with a brief description and a title to invite audience participation. For the Youtube Channel, I plan to record a short video about one of the places in Koreatown Dallas or Carrollton to capture the audience’s attention. I might record a short food video from a Korean restaurant (if permitted by restaurant manager/owner) or a panoramic video of Koreatown Dallas or Carrollton and upload it to Youtube. Even though my project is in the early stages of a digital public history site, I will be asking for a few volunteers from different backgrounds and ages to view my site and provide a brief feedback. I might even ask my own students to take a look at the site as a classroom exercise on the rhetorical persuasion and audience engagement of a digital public history site that is a work in progress.

Exploring Mobile History Site: The Sixth Floor Museum

For the “Exploring Mobile Public History” activity, I explored the The Sixth Floor Museum at Dealey Plaza on my smartphone. The information and images presented on the website were viewable on the smartphone. The only drawbacks for viewing the site on the phone are the enlarged images and extended timeline information with images. On the phone, it is difficult to have a wide view of the images and timeline that are displayed across the screen on a computer or laptop. On the other hand, viewing the digital public history on the smartphone had some advantages. Based on the place-based or location-based techniques, the mobile site adhered to all three of the responsive approaches: how they want it, when they want it, and what they want. For visitors who are curious or unable to visit the museum in person, viewing the public history is accessible via the website. But, it is even more accessible for people who want to view it from their smartphones. The disadvantage will be for people who do not have cell phones or mobile devices. Also, if there is no WiFi, then there is no access. I was able to view the museum site on my phone while I was in an area that did not have desktop computers or laptops. Also, I was able to view the site while I was having lunch. As long as I had access to WiFi, I was able to view the site on my phone. By having access to the site via smartphone, laptop, or desktop, reflects that the site can be viewed with WiFi in different locations. Also, I could view the site when I wanted it. Instead of worrying about the Museum’s hours of operation, I could view the site whenever I wanted.

As for what I wanted, I was able to select different sections to view collections, timelines, shared memories, videos, and transcripts. Instead of reading about the history of the museum, I can jump to the next section and read about the assassination. I can also select Collections or The Legacy. If visitors at the museum do not have mobile devices or smartphones, the museum provides electronic devices for a voice driven tour. However, the mobile version does not provide a voice driven tour for visitors who want to use their own devices. The timeline presented in the “The Assassination” section closely resembles what is at the physical museum, so visitors get a similar experience. The images on the timeline are not viewable alongside the text when a specific part of the timeline is selected for closer viewing. The oral history in “The Collections Section” includes more transcripts than video recordings. The video recordings are linked to their YouTube Channel, and they are easily viewable on the smartphone. The audience engagement with the site is layered with different things. The Legacy section includes previously shared memories of the event, and there is a “Share Your Memories” tab to invite the audience to provide their stories during that time period or what they know about it.

The theory of history that The Sixth Floor Museum is putting forward is living history. Instead of teaching about the past in a single space, it engages the audience to trace the events leading up to the assassination of President John F. Kennedy on November 22, 1963 in a digital space. Also, The Sixth Floor Museum invites the audience to question what had happened and how the assassination of JFK is still thought provoking after so many years. The audience can envision the past while connecting with the present surroundings. For example, the site shows the physical spaces related to the tragic event from past and present. The audience can view the location of the assassination and where the sniper was positioned at the time. The site links to an Earthcam that allows the audience to view the Dealey Plaza from the sixth floor of the museum. The live camera shows cars, people, roads, buildings and other structures in today’s time. Placing the audience in the location of where the sniper was positioned during the assassination perfectly connects both digital and physical spaces together. Whether it is in physical or digital space, the The Sixth Floor Museum site engages the audience to think about history as living history.

A Reflection on Doing Local History or Affinity-Group Community History Mediated by Digital Technology

Working on local history or an affinity-group community history mediated by digital technology invites various challenges. One challenge involves communication via the digital space. Selecting the right interface to present the public history contents requires carefully paying attention to the audience, design, and content management. Another challenge is creating ways to engage a broad audience. The digital public history site needs to be displayed in different ways to capture the audience’s attention in order to engage them. According to Gutterman, “Digital history scholars have emphasized the need for interactivity, but most digital history Web sites fail to attain this goal” (“Outhistory.org” 102). So, various digital tools or plug-ins have to be tested in order to find the right ones for engaging a broad audience. The third challenge would be designing the project’s site with various digital tools to create and share historical knowledge with a broad audience. For example, Outhistory.org invites the audience to “Create Content” and to share their stories “Tell Us Your Story.” They allow the audience to take part in building the digital public history site. Whether the audience is a scholar or someone from the general public, the digital technology must be accessible and user-friendly. The last challenge is to constantly keep the communication open for collaboration of new and shared ideas to maintain the digital public history site.

After carefully reading the articles and viewing the project sites of local history or affinity-group community history, I have noticed several things that I need to consider with developing my project. I am in the process of looking at another plugin to add to my project site. The plugin would be for a timeline. Another thing I would like to consider is reorganizing the featured sections. I may order the sections differently. Also, I would eventually need to test the site with actual users, people who represent my proposed audience/persona. Testing the site will help me see the flaws and gain knowledge about my real audience. To broaden my audience and to encourage more people to contribute to building the Koreatowns in North Texas project, I would like to add a Korean language feature; so I can include both English and Korean. Also, I have learned that I need to collaborate with more people who have knowledge about the Koreatowns and Korean American history in North Texas. The collaboration will help me with designing a bigger picture for my project. Therefore, while I am selecting the digital tools and designing the interface, I have to keep in mind the audience and the communities throughout the development of the project.

A Reflection on how Modules 4 & 5 have shaped the thinking process for designing “Koreatowns in North Texas”

Designing my project took some time, patience, and creativity. Modules 4 and 5 prepared me for a different outlook on designing my project and overcoming some minor challenges along the way. By exploring the suggested project sites in Module 4, I was able to understand how each project tries to engage the audience in different ways. Reading the articles that explain the process of designing the project was very helpful. The information on metadata was also helpful. In “Why Collecting History Online is Web 1.5,” authors Sheila A. Brennan and T. Mills Kelly convey the importance of metadata: “Without a metadata schema, however, your project is doomed to a lack of interoperability with other collecting projects that potentially threaten its longevity.” Adding metadata and adhering to the Dublin Core provided the additional practice I needed for describing my items.

Learning to add items to a collection in Omeka provided an insight into viewing it from the outside. I had to keep the audience or personas in mind when I was making the digital collection. I had to carefully select items that might trigger the interest of my audience. Also, I had to think about the interface for my project. I selected Omeka instead of WordPress because it was best suited for my project. From the article, “Generous Interfaces for Digital Cultural Collections,” “Generous interfaces provide rich, navigable representations of large digital collections; they invite exploration and support browsing, using overviews to establish context and maintain orientation while revealing detail at multiple scales. Generous interfaces use multiple, fragmentary representations to reveal the complexity and diversity of cultural collections, and to privilege the process of interpretation.” With Omeka, I can add layers of information that allow the audience to select their digital experience. Instead of a linear navigation, Omeka features sections that the audience can select in different order.

The storyboarding activity in Module 5 provided an insightful look into my project site. At first, I had the images categorized into 2 collections and 1 exhibit. While storyboarding, I realized I needed to go back to two personas because it was becoming too much. Also, I switched from 2 Collections and 1 Exhibit to 3 Exhibits. I redesigned my storyboard images while I considered two personas: primary and secondary. By constantly thinking about how the user might navigate the site, I was able to see what changes I needed to make to make it more user friendly and engaging. According to Shawn Medero, “Paper prototyping can also help improve the final product: the prototyping stage is the right time to catch design flaws and change directions, and the flexibility and disposability of paper encourages experimentation and speedy iteration” (“Paper Prototyping”). By drawing each screen, I came to the conclusion that I needed a section that allowed the audience to take part in this project. So, I added two additional sections: Cultural Events and Remembering Koreatown. Similar to the Hurricane Digital Memory Book, Baltimore Uprising, and A More Perfect Union, I added sections that valued the audience’s experience and contributions in order to build the project to its full potential. I also came to the conclusion that I would like to add another language, Korean, to my site after viewing Gulag: Many Days, Many Lives. Including another language in one or more sections of the site will add another level of audience engagement. Overall, the storyboarding activity provided an opportunity to reassess the narrative that I want to present in each exhibit as well as engaging the audience to share their narrative interpretation.

As always, content is very important. In Erin Kissane’s article, “A Checklist for Content Work,” she argues that “good content is user-centered.” While working on the infrastructure of my Digital Public History project site, I had reconsider the content. I had to think about the goals that I want my users to accomplish when they visit the site. This part is a work in progress because “content must adopt the cognitive frameworks of the user” (Kissane). I need to work on the diction and tone to capture my audience’s attention.

Modules 4 and 5 have shaped my thinking process for designing my project site. At times, I had to stop myself from doing too much and just think about it. When I was gathering my sources, I had to reconsider my personas. I realized that I had to scale down my personas from 4 to 2. Also, I had to think about the items and how they were going to be displayed. I had to revise the metadata and descriptions. This part is still a work in progress. In agreement with Suzanne Fischer, I had to “seek patterns” and take the time to think about my project because “synthesis is a creative skill that public historians can learn and teach” (“Developing your Synthetic Powers”). By looking for patterns in my project, I was able to pinpoint certain things that I had to scale back on since less is more.
I didn’t want to overwhelm my audience and lose their attention. I had to take a humanistic approach with technology. Therefore, maintaining a clear communication with the audience via the interface is very important when designing a Digital Public History project.

Project Proposal for “Koreatowns in North Texas”

“Koreatowns in North Texas”

The proposed “Koreatowns in North Texas” project will convey the importance of preserving an unrecognized part of American history. Currently, there is no website that allows the audience to access information about the history of Asian Americans in Texas. Multiple Asian American communities in Texas continue to prosper, and they contribute to the socio-economic development of the surrounding communities. Unfortunately, the history of the Asian American communities goes on undocumented by the Dallas County and the Dallas Historical Society. The proposed project will help inform people about an important part of the Dallas cultural and socio-economic history in order to bring awareness to a diverse community. It will emphasize the significance of immigration and the sustainability of urban and suburban development in diverse communities. The project will begin with the Korean American communities of Dallas County. There are two Koreatowns in North Texas: Koreatown Dallas and Koreatown Carrrollton. Each Koreatown is different, but both of them play a significant role in their community.

The proposed “Koreatowns in North Texas” project will ask the audience history questions pertaining to what they know about the history of Korean American communities and their connection to the two Koreatowns in North Texas. Here is a sample of the following history questions: What do you know about Korean American history in North Texas? What historical information about Koreatown Dallas or Koreatown Carrollton would you like to learn? How often do you visit Koreatown Dallas and/or Koreatown Carrollton? Describe your personal connection to one or both of the Koreatowns. What do you think makes Koreatown Dallas and/or Koreatown Carrollton interesting? Describe your earliest memory of Koreatown Dallas and/or Koreatown Carrollton. Describe your fondest memory of Koreatown Dallas and/or Koreatown Carrollton. What do you think stands out the most in Koreatown Dallas and/or Koreatown Carrollton? (e.g. the architecture, the cafes, the building signs, etc.). Some of the statements were revised from questions to non-questions to encourage the audience to provide more information.

Also, the project’s website will include a collection of digital images, short descriptions/narratives to connect with the audience, and information about important people who have contributed to the sustainability and development of the communities. Another component will be added for audience participation; they will be able to add their images and narratives that are related to the development of the Korean American communities. Their contributions will help build a historical collection online. Also, it will include digital maps to show the locations and spatial components in order to depict community integration and neighborhood gentrification.

In order to inform, persuade, and engage the audience, the website will implement digital tools. Omeka, an open source web publishing platform, will be used to feature the images as items. After the metadata is added for each item, the items will be organized into Collections or Exhibits. A Geolocation plugin will be added for mapping the locations of the items. Another plugin, Juxtapose will be used to show a side-by-side map comparison of both Koreatowns. Also, it will be used to show a map comparison of Koreatown Dallas in 1980s or 1990s versus now. An additional plugin, Commenting, will be added for the audience to add their comments. A Zoom It plugin will be added to allow the audience to zoom into the image and view it from different angles. Eventually, a social media plugin will be added.

For the target audiences, there are four different personas. Persona 1 includes the 1.5 and 2^nd generation Korean Americans. They visit the Koreatowns with family and friends. Some of them have contributed to the building or development of Koreatown Dallas or Koreatown Carrollton. Persona 2 includes an audience who is non-Korean American but is familiar with Korean culture and history from different levels, and they visit the Koreatowns. Persona 3 will be the audience who does not know anything about Korean culture and history, and they do not know that Koreatowns exists in North Texas. Persona 4 is the audience that is comprised of first generation Korean Americans who moved to North Texas during the late 1970s to 1990s and they have contributed directly to the development of Koreatown Dallas, or they have very strong personal connections to it.

A Reading Response and Reflection

For my project, I plan to use my Omeka items to engage my audience in different ways. One of the activities will include tagging. I did not tag the items because I want to see the how the audience varies in their opinions about each item. Will it be objective or subjective? So far, I have developed three personas for my project; and I would like to see how each of them tags the Omeka items. The first persona is someone is familiar with Koreatown. He or she may have grew up visiting Koreatown with family and/or friends. Also, in the first persona, this person could have contributed to the development of Koreatown. The second persona is someone who has an interest in Korean culture and/or history, and he or she likes to visit Koreatown. The third persona is someone who is not familiar with Koreatown. He or she probably does not think it exists in Texas.

Similar to the Hurricane Digital Memory Book and Baltimore Uprising projects, I plan to include a section that will ask the audience to add their memories of the Koreatowns and the events. For each item, I would like to include a plug-in that allows the audience to add a comment. Also, there will be a mapping tool that allows the audience to input their location in comparison to the locations of both Koreatowns in North Texas. Another activity will include a redesign or remapping of both Koreatowns. How will it fit into your neighborhood? Or, I can ask the audience to engage in building a Koreatown near their neighborhood. Furthermore, Koreatowns Dallas and Carrollton hold festivals pertaining to Korean culture and history, so I would like to include a section that allows the audience to upload their pics and add comments to build a story based on their personal experience during one of the past festivals. This activity will be build a community of festival goers or lovers to communicate with each other.

A Summative Blog on Audience, Engagement, and Co-Creation

Conducting research for building a prototype for a digital public history project comes with some interesting challenges. One of the challenges that I have encountered is creating a set of questions to find out more about my audience. During the early planning stage, I thought I had great ideas for whom the project will target. After interviewing my users, I realized I needed to revisit my set of interview questions. My questions were almost linear, and I needed to take less control and let the audience tell me what they are looking for. One of the audiences that I did not consider at the initial planning of my project is the audience who does not have any knowledge of both Koreatowns and Korean American history and culture in North Texas. If I could find a way to engage this type of audience, then I will have a better understanding of my audience.

According to Shlomo Goltz, “personas are one of the most effective ways to empathize with and analyze users.” Learning about personas and creating two personas for my project has helped to step back and see my project from another angle. Then, I began to understand my audience. I am currently in the process of creating a third persona to acknowledge another group of audience. Another challenge I have encountered is the technology aspect. I made the assumption that if my audience uses technology, then it will be less difficult to engage them. However, I needed to pay closer attention to different patterns of data and the data that was missing. Both users access social media, but the type and time spent for each one differs depending on what they need and want from each one. The users not only want to search for information, but they also want to learn and to be acknowledged. I plan to study more social media platforms in order to understand how each one serves a purpose for different audiences. This will help me to learn which ones serve a greater purpose in engaging the audience with the project, and it will help me to select the appropriate digital tools to engage my audience.

Furthermore, engagement becomes a key factor for keeping the audience interested, informed, and valued. They want to be part of the project in some way. Just like visiting and engaging in the physical spaces, the audience wants that similar experience in a digital space; and they want to leave a physical and digital space knowing that they have learned and/or contributed in some way. The shared inquiry between the audience and the project creators create an interesting dynamic. By inviting the audience to become part of the project, the level of engagement goes from minimal to valuable. Also, carefully researching the audience and the different types of engagement adds a humanistic approach to the project. I plan to integrate activities that both the audience and I can co-create or build the project together. In the meantime, I will continue to research the end goals of different users. Overall, the user research has helped me to view audience from a different perspective and how they play a significant role in the designing and planning of our digital public history project.

A Comparative Review of the National Cowgirl Museum and Hall of Fame

Depending on the environment or space, the representation of a public history project may vary. Whether it is a physical or digital space, the same public history project will be interpreted differently. Also, the audience interacts with it differently when presented with various ways of engagement between the physical and digital sites. Each space is open for interpretations based on its rhetorical representation; it is constantly changing and transforming. For the comparative review of a physical and digital site, the National Cowgirl Museum and Hall of Fame in Fort Worth, Texas was selected.

The National Cowgirl Museum and Hall of Fame conveys the importance of recognizing the history and culture of cowgirls. The concept of the cowboy is a nostalgic and more commonly mentioned in American history. However, the concept of the cowgirl is almost forgotten or rarely mentioned in mainstream American history and culture. This museum demystifies the concept of the stand-alone cowboy and acknowledges the contributions of cowgirls. The outer space of the museum has two amazing statues placed in front of the museum. A bronze, life-size statue of a cowgirl with her horse stands on the left side of the museum. On the right side, there is a bronze, life-size statue of Sacagawea. Inside the museum, it has a circular design with a rotunda like ceiling. The environment is warm and inviting. It looks like a beautiful mansion with white floors and an impeccable interior design. There are two staircases on each side of the museum. The featured exhibit, “Pure Quills,” is on the far left corner of the first floor. The ongoing exhibit is on the right corner of the first floor and continues to the second floor. There is a video viewing room that is closest to the entrance door on the right; it features a short video of the museum’s collections and featured exhibit.

The audience for this museum varies. During my visit, I saw adult women and men touring the museum. This museum is also great for all ages and students.

The first floor of the museum features a circular layout. Because of the open and circular layout, visitors can start from different areas instead of one single flow of traffic. After viewing the video, the audience can enter the room next to it. On the right side of the wall, there is a bright red screen that asks the audience to touch the screen to begin. There are five different black and white photos of Annie Oakley, two Native Americans, a cowgirl march, Buffalo Bill, and an image of a cowgirl on a horse. After a photo is selected, the visitor steps into the brightly lit photo booth. After the photo is taken, a copy of the 3×5 photo is printed for free. There is also an option to send a digital photo via email or text. This activity is fun and interactive because it encourages visitors to learn more about the people and settings in the photos. If people were taking up too much time with the photo booth, the layout of the exhibit encourages the visitors to move to other locations in the exhibit that are also equally or more engaging such as the double-sided video screens hanging from the ceiling. Each side of the screen features videos taken during the time cowgirls were part of the Buffalo Bill Show.

The primary items that are used to communicate the interpretation of the museum are the collections of artifacts from well-known cowgirls such as Annie Oakley and Tad Lucas. These artifacts are displayed beautifully in separate glass cases for full 360 viewing. The circular navigation of the museum is very engaging and moves the visitors along. There are hologram videos that are built into the wall. It looks like a diorama that hangs on a wall, but in this case, it’s a digital diorama that speaks to the audience by looking directly at them during the speech. One of the dioramas features an image of Annie Oakley talking about teaching other females how to shoot rifles.

I did not see any docents or curators interacting with the public during my visit. However, the museum will provide a docent led tour for a group if scheduled ahead of time. The receptionist who was also the gift store representative was helpful. After I purchased my ticket, she handed a pink sticker and instructions.

The physical site of the National Cowgirl Museum and Hall of Fame is engaging and informative. This museum is a great treasure for the nation. I wish more people would visit the museum because I learned so much about the American West and history of cowgirls during my first visit. I hope to return soon with my friends and family. I would not change the physical exhibit because it is effective as is.

In addition to the physical site, the National Cowgirl Museum and Hall of Fame also has a website. The “About” page includes a clear statement for the purpose of the museum: “The National National Cowgirl Museum and Hall of Fame honors and celebrates women, past and present, whose lives exemplify the courage, resilience and independence that helped shape the American West, and fosters an appreciation of the ideals and spirit of self-reliance they inspire” (National Cowgirl Museum). From the featured images of cowgirls to the amazing logo, the design of the website clearly communicates its argument. The primary audience might be women because the website seems to show more images of women and their achievements. It also features a slideshow on its homepage of future events such as the artist Barabara Van Cleve’s “Pure Quill” exhibit, Cowgirl Spring Roundup, the luncheon for the National Cowgirl Hall of Fame, and the Old Bags luncheon.

The website seems to target white/Caucasian women because most of the images in the homepage slideshow feature white women. It makes the assumption that the audience is mostly white women. However, if the audience takes a look at the honorees, there are also women of color who were inducted into the Cowgirl Hall of Fame.

The layout of the website is easy to navigate and search. Each of the tabs has categories of interest. For example, the “Museum” tab has seven featured categories with sub-categories. There is an “Education” tab as well as the “Hall of Fame” tab. For the Hall of Fame, the audience can learn about each honoree and her achievements. There is also an image of the honoree. Similar to the physical site, the website allows the audience to begin their journey from different directions. There is no “Start Here” tab or page, which allows more freedom for the audience to navigate the website. Unfortunately, there is no Search area or button on the homepage to allow the audience to narrow their search.

The website offers brief information about the ongoing exhibits and featured exhibit. It also includes the “Hall of Fame” honorees information. The Education page features information for school tours, video conferencing, traveling trunk, and Girl Scout Patch Program. The Support page asks the audience to become members, to make donations, and to volunteer.

In contrast to the physical site, the website provides Education and Support opportunities that a physical site does not provide unless the audience request such information or reads the museum pamphlet. The featured artifacts in the digital space do not compare to the artifacts featured in the physical space. The images of the artifacts and photographs on the website do not have a title, description, or narrative.

For the audience interaction and engagement, the digital space allows the audience to search the list of honorees, view videos, and search the archives. However, the physical space allows more interaction and engagement with the audience. The website allows the audience to interact with the site’s creators and curators. By visiting the “Support” page and selecting “Volunteer, the audience may interact with different departments of the museum. This type of interaction is central to the sustainability of the museum because it engages the public and values their contributions.

For the National Cowgirl Museum and Hall of Fame website, there are a few things that can be changed to enhance the digital experience for the audience. They should add titles, descriptions, and narratives to the artifacts and photographs on the website. Instead of placing them all together on one web page like a collage, they should be categorized. Adding a search area on the home page would also be helpful. The social media platforms should not be placed at the bottom right-hand corner of the website. An interactive component to entice the audience to learn more about the museum and the history of cowgirls should be added to the home page. Adding another language such as Spanish would be great because the physical site acknowledges the cowgirls from the Hispanic culture. Adding a tab for cultural diversity in cowgirl history would be helpful to reach a wider audience. The physical site includes information and images of cowgirls from Native American and Hispanic American cultures. Despite these suggestions for changes to the digital space, the museum’s website presents the overall argument very well.

A Response for the Comparative Review of the Digital Public History Projects

With advancing technology and globalization, digital public history projects have progressed over time. A comparative review of the digital public history projects in three different phases reveals noticeable changes from the projects that began as content focused to projects that are content and audience focused. At the same time, the creators of the projects had to consider the digital space. For example, the digital public history work during phase 1 is more content driven. The technology might be outdated, but the historical content plays an important role in all three projects in this phase. In the first example, “Blackout History Project,” some of the hyperlinks were no longer working. Also, phase 1 includes minimal audience engagement; however, there is more audience engagement in the last two projects of this phase. The images, videos, and audio recordings provide different ways of viewing the historical content; and they allow the audience to think about history differently. “Blackout History Project” and “The Progress of a People” seem to centralize the historical content as if it was presented in an academic manner (e.g. lecture); however, I can see that all three projects were reflecting a shift or change in making public history available to a broader audience. A basic mapping tool appears in the third project: “The Great Chicago Fire and the Web of Memory.” The digital tools used in phase 1 projects convey the importance of beginning to engage the audience with the historical content through a digital space for the contextualizing strategy, which Sam Wineburg defines it as situating “the document and its events in time and place” in order to be “Thinking Like a Historian.”

For phase 2, the digital public history projects include more digital tools, audience engagement, and recognition of collaboration. In addition to educational resources, a project’s site presents other ways of engaging with a general audience. Phase 2 includes less hyperlinks and more embedded links and images that can be clicked on for more information. Also, phase 2 includes more galleries or exhibits for the scanned images of documents and other artifacts. Phase 2 projects invite the audience to think like a historian in the intermediate stages of contextualizing, close reading, and reading silence. “Jasenovac: Holocaust Era in Croatia” introduces the audience to public history that might have been hidden or rarely exposed. “A More Perfect Union: Japanese Americans and the U.S…” is another project that presents historical content that most U.S. history books only provide a snippet of information. “Raid on Deerfield” introduces the audience to view the history of English settlers and their conflict with the French and native allies. The phase 2 projects represent social injustice in different countries, and they convey the importance of global perspectives in order to share public history in a digital space.

In phase 3, the digital public history projects include updated digital tools, collaboration, and more audience engagement. The projects that collaborate with a museum and local historical society or library are “Lincoln at 200” and “Bracero History Archive.” Some of the project sites such as “Bracero History Archive” and “Operation War Diary” encourage the audience to contribute to the project. Also, some of the projects use social media to collaborate with the audience and spread the word about the project. There is also a search option in two of the projects. The digital tools in phase 3 are more advanced in presenting the historical content and engaging the audience. Some of the projects have both audio recordings with transcriptions for ADA compliance. The “Manifold Greatness…” is a great example. Some of digital public history projects have resources for further reading and for classroom purposes. By including more collaboration, audience engagement, and advanced digital tools in a digital space, phase 3 projects introduce the audience to the strategies of contextualizing, close reading, using background knowledge, reading the silences, and corroborating.

Furthermore, good digital public history work should continue adapting to the changing and advancing technology, updating websites, presenting historical content that challenges the audience to “think like a historian,” adding more scholarship, finding ways to engage the audience to understand the value of researching public history, and acknowledging a diverse audience. With all of these things in mind, it is also best to continue updating the guidelines for reviewing digital public history work.

In the field of digital public history, there are several promising new directions. It will create more grants and fellowships for scholars to think like a historian and bring awareness of missing or rarely known part of public history to a wide audience. Also, this field will steer in the direction of global digital public history projects that will reach out to an even wider audience for cultural and historical understanding. Soon, almost every major institution or organization will begin to hire public historians. This field is unique in the sense that it brings academic and non-academic passions together for a greater purpose. The humanistic approach to digital public history comes into fruition when it becomes an inclusive rather than exclusive way of audience engagement and participation along with collaboration from academic and non-academic institutions or organizations.