The Wartime Films Project: Choosing our User-Centered Design Pilot – A WWI App

This post comes from Kerri Young at Historypin, our partners in the Wartime Films engagement project, and is part of a series outlining how NARA is using design thinking to reach new and existing audiences.

Watching Motion Picture Preservation staff hard at work restoring a film from RG-111, the primary record group containing a series of WWI films that we’re utilizing for this project.

Watching Motion Picture Preservation staff hard at work restoring a film from RG-111, the primary record group containing a series of WWI films that we’re utilizing for this project.

In our last post, we took a look at how we built our evaluation framework for the Wartime Films project, including coming up with audience-focused outcomes that we wanted to see as a result of engagement. The next step was to create a product that will meet the needs of our target audiences while helping us achieve as many desired outcomes as possible.

Carol Swain from NARA’s Special Media Records Division, Motion Picture Branch showing the Historypin team research aids for the newly digitized WWI films at NARA’s Research Room in College Park, MD.

Carol Swain from NARA’s Special Media Records Division, Motion Picture Branch showing the Historypin team research aids for the newly digitized WWI films at NARA’s Research Room in College Park, MD.

Of course, the heart of this project is hundreds of wartime moving images and about 100,000 photographs being expertly preserved and digitized by NARA curators, many never-before-seen. In light of the upcoming 100-year anniversary of the US entering World War I in 2017, we can tie into renewed interest in the conflict and local and national efforts focused on the centenary.

The first step of our product design required us to assess what products and tools might address the existing needs of our target audiences. When we thought about teachers and museums in particular, we considered the proliferation of digitally accessible primary sources, the challenge of discoverability, and the availability of textbooks and guides for studying WWI. We began to imagine a product that could not only bring NARA’s WWI content to light in a dynamic and tactile way, but also to create a tool that could help to enable real exchange, where teachers and local museums could help to shape the product we create.

A close-up of some of the research aids we looked at, including film shot-lists and accession cards, which helped give us a better understanding of the breadth of subject material covered in NARA’s WWI films.

A close-up of some of the research aids we looked at, including film shot-lists and accession cards, which helped give us a better understanding of the breadth of subject material covered in NARA’s WWI films.

With WWI as our focus, our priority was to gather collections together in a way that would enable people to tell stories. Teachers and museums place significant importance on understanding historical documents, constructing theses, and finding documents to help explain those theses. Understanding this helped us to start identifying goals for an application that would speak to both these target audiences and the ways in which they want to engage with the records.

Starting to sketch out early designs of what the app might do, based upon our increasing understanding of the WWI content we are working with.

Starting to sketch out early designs of what the app might do, based upon our increasing understanding of the WWI content we are working with.

At the same time, we also wanted to try and enrich the collections themselves. We thought there might be an opportunity for tagging photos and segmenting moving images, with the goal of recontextualizing the WWI content through a local lens and highlighting often underrepresented narratives. Our aim is to develop an app that allows communities to easily interact with these primary source records and use them to tell their own local stories.

In our next post, we will talk about our user-design process for the app, and how representatives from our audience groups are helping us make the key connections between content and users.

Posted in Catalog, Digitization, Films, partnerships, Photographs, Preservation, Questions, Research, Social Media (Web 2.0), Uncategorized, Veterans / Military | Tagged , , , , , , , , , | Leave a comment

The Making of Women’s Equality Day

Today’s post was written by Christine Blackerby, Education and Public Outreach Specialist in the Center for Legislative Archives.

Wisonsin Ratification of the 19th Admendment, June 11, 1919 (page 1 of 3)

Wisconsin Ratification of the 19th Amendment, June 11, 1919 (pg 1 of 3)

Today is Women’s Equality Day, which marks the date in 1920 when the 19th Amendment providing for women’s suffrage was declared to be ratified and therefore part of the U.S. Constitution. The drive for women’s voting rights had started in 1848 in Seneca Falls, New York. By the time the amendment was certified on August 26, 1920, it had taken 72 years to realize the goal.

However, many women saw suffrage as just one step for women’s rights. There was much more to be done to ensure that women would be equal to men. Three years later, in 1923, the Equal Rights Amendment (ERA) was introduced in Congress for the first time. Congressman Daniel Anthony, Susan B. Anthony’s nephew, submitted the joint resolution in the House of Representatives, starting a debate that continues to this day. Introduced in Congress more times than any other amendment, the Equal Rights Amendment would have provided for legal gender equality if it had been ratified by the states.

Anthony’s amendment failed, as did over 1,100 more attempts. The issue continued to gain support though, and in the 1970s Congress held hearings on the Equal Rights Amendment. Many citizens wrote to Congress to express their support or opposition. One supporter was Liz Carpenter, who warned, “Don’t be fooled by the bugaboos raised by the Amendment’s opponents. Women will gladly trade protective laws for some equal pay and equal rights.” But Congress also heard from women like Mrs. Thomas Zeko, who said, “The mal-contents, lesbians and Communists of women’s lib main purpose seems to be to downgrade the marvelous vocation of mother-homemaker.”

Photograph of Equal Rights Amendment (ERA) Posters on the Back of a Station Wagon, NARA ID 7452296

Photograph of Equal Rights Amendment (ERA) Posters on the Back of a Station Wagon, NARA ID 7452296

The ERA passed Congress in 1972 by a two-thirds vote, as required by Article V of the Constitution. However, amendments must also be ratified by three quarters of the states, and the ERA was just three states short of the 38 ratifications needed. As the seven-year time limit for ratification approached in 1979, Congress and President Jimmy Carter controversially extended the deadline three years. However, no additional states ratified. In 1982, the amendment failed.

The National Archives Museum exhibit “Amending America” features these documents and many other stories about constitutional amendments. All of the documents from the exhibit are available in NARA’s online Catalog as well as in an eBook available as a free download in the iTunes store.

The 1,100 proposals for the ERA are part of the list of more than 11,000 constitutional amendments that have been introduced in Congress. As part of the “Amending America” initiative, the National Archives digitized the list of amendments, and made it available for free download on Data.gov.

National Archives Women's Affinity Group logoWe’ll soon be adding new channels for sharing these stories online. The National Archives Women’s Affinity Group (WAG) will introduce  a new Twitter account and Tumblr blog to explore  the history of American women  and promote the documents which tell their stories. Follow @USNatArchives on Twitter and US National Archives on Facebook for information on the launch.  

 

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Rebooting the Social Media Strategy for the National Archives

This post and strategy were written by Jeannie Chen, Mary King, and Hilary Parkinson, with contributions by Dana Allen-Greil.

In six years, you can get a lot done! If you are the International Space Station, you could have orbited the earth 35,040 times. If you are Apple, you could have released 10 new iPhones. If you are the National Archives, you have gone from zero social media accounts to over 100!

It’s been six years since NARA’s first social strategy was released. Things have changed in the digital universe, and so we’ve been working on a reboot of our social media strategy.

Animated gif image excerpted from “Right on the Button.” From the series: Motion Picture Films, ca. 1960 - ca. 1970. Records of the Internal Revenue Service, 1791 - 2006.

Image from @TodaysDocument Tumblr. NAID11900.

In 2010, we introduced our first social media strategy to continue our commitment to open government and to empower staff to use social media. Now our digital presence reaches hundreds of millions of people. More than 200 National Archives staff contribute to 130 social media accounts on 14 different platforms, generating over 250 million views in 2015.

Access and transparency are at the core of our work. With the explosion of digital devices and platforms, we can share our documents and our mission with anyone, anywhere, anytime.

To tackle these new needs and to keep us current for our audiences and stakeholders, we have come up with this new plan. We met with staff and asked them about their goals and needs for social media–and we asked staff what challenges they faced when using social media. We also researched social strategies of other influential institutions, we analyzed our social media and web data, and we read up on best practices. We led lightning sessions to get feedback and suggestions from other galleries, museums, archives, and libraries. Now, we need to hear from you!

Your feedback is needed to make this strategy the best it can be and we want to hear what you think. We see this as a living document, so we’ve published the strategy on GitHub, a collaborative development web platform.

Take a look at the National Archives Social Media Strategy and leave a comment below. Or, send an email to socialmedia@nara.gov and let us know what you think. Please be sure to add your comments by September 16 so we can include your feedback in our plan!

Posted in Open Government, Social Media (Web 2.0), Uncategorized | Tagged | 3 Comments

The Wartime Films Project: Setting Goals and Intended Outcomes for User-Centered Design Pilots

This post comes from Kerri Young at Historypin, our partners in the Wartime Films engagement project, and is part of a series outlining how NARA is using design thinking to reach new and existing audiences.

Last month we looked at how research and analysis have helped us narrow our focus on particular audiences and a subset of relevant content. Today we’ll take a look at how we built our evaluation framework for the project.

Having narrowed our target audiences for the Wartime Films project and settled on WWI-focused content for our engagement efforts, we began to really concentrate on our goals for the pilot. Unlike a traditional publicity campaign seeking media responses, or a management document to commit to deliverables, we’re seeking particular outcomes for the target audiences, as well as ways to measure the impact of our engagement. Outcomes focus on social transformation, and are defined as changes in the behaviour, relationships, activities, or actions of the people, groups, and organizations with whom a program works directly.

Working with Historypin’s research and evaluation team at Shift, we decided on the formula of actors + actions = intended outcome to shape our goals. Recognizing that we’re part of a much larger ecosystem of cultural heritage organizations encouraging discovery and reuse of our national treasures, we focused the formula on answering two key questions : what did we want to see happen in the project, and how could we measure our specific impact in the space through this particular pilot?

Screenshot of chart showing aims (the change we want to bring)

Brainstorming initial goals for our teachers target group.

Using a widely-adapted, user-centered approach to planning called Outcome Mapping, we’re able to focus on social transformation, particularly how it pertains to the public discovery and creative reuse of primary source materials. For us, the desired “big picture” change is broken down into a series of multiple outcomes that multiple actors can work towards. To build our outcome mapping framework, we first pinpointed not only NARA’s wider goals for access and reuse in the project overall, but for each of our target audiences individually: teachers, local museums, and coders/digital humanists. The audience analysis we carried out in the beginning of the project was key in helping to define these goals, and placing them in the framework helped us organize the actions and results we were hoping to see.

Screenshot of outcomes chart (change we want to see)

Some outcomes for our museums target group.

We narrowed down the most important aims for each group and created a spreadsheet to organize our intended outcomes, the activities that can help us reach those outcomes, and methods to measure how effective the actions have been. The outcomes we settled upon for each group focused on issues of awareness, access, and community, each connected to larger organizational goals for NARA (see the National Archives 2014-2018 Strategic Plan).

The next steps of this process involved coming up with initial activities- such as teacher workshops and publishing raw metadata for coders- that can be logically linked to our outcomes. We then created measurements for these activities, which can be anything from surveys and interviews to observations like social media hits, teachers blogging, etc.

By approaching the Wartime Films evaluation from a social research perspective, the key outcomes and ways of measuring those outcomes are aimed at seeing an increase in social engagement. While the activities and measurements for those activities might change over the course of the project, having this framework in place allows us to ensure our overall goals stay consistent.

Posted in Digitization, Films, Photographs, Preservation, Questions, Research, Social Media (Web 2.0), Uncategorized, Veterans / Military | Tagged , , , , , , , , , | 1 Comment

National Archives at Boston Collaborates to Digitize Over 900 Popular Photos

Digital Commonwealth landing page for the Photographs of the First Naval District

Digital Commonwealth landing page for the Photographs of the First Naval District

It’s a fact that the National Archives holds billions of records. It’s also true that, even with the awesome level of description that staff accomplish each year, it’s a challenge to make items available online as fast as we’d like. Large scale digitization partnerships help, as does every individual record scanned by Citizen Archivists in the Innovation Hub, but we’re always looking for new ways to increase access. Over the past couple of years, the National Archives at Boston has been brainstorming the question and just last month some of the first fruits of their labor became available as part of the Massachusetts Digital Commonwealth.

Early in 2015, National Archives at Boston Director, Alfie Paul, noticed the work that other Massachusetts cultural institutions were doing as part of their membership in the Digital Commonwealth. This state-wide program seeks to provide online access to the records held by libraries, archives, museums, and historical societies in Massachusetts. Of particular interest was the free digitization services offered to member institutions by the Boston Public Library (BPL), through its Library for the Commonwealth initiative.   

Dance at Frontier Base for Negro Personnel. 40 Girls from Boston. Negro Band from Squantum Naval Station or Quonset

Dance at Frontier Base for Negro Personnel. 40 Girls from Boston. Negro Band from Squantum Naval Station or Quonset

The Archives reached out to BPL Digital Projects Manager, Tom Blake, and soon Director Paul and senior archivist Nathaniel Wiltzen were visiting the digitization lab at the library to make sure it would meet the Archives’ security and safety standards. The National Archives at Boston formally joined the Digital Commonwealth, received the required agency permissions, and submitted an application to have two series of Naval District photographs digitized. These series, Photographs Depicting Naval Shore Establishments, 1939-1947 and photographs culled from the Administrative History of the First Naval District in World War II, 1946 are among the most heavily used records at Boston. While 110 images are currently available in NARA’s online Catalog, more than nine hundred others had yet to be scanned. That changed this past March when Paul and members of his staff hand delivered the photographs to the BPL lab. In July, the prints were all scanned and the landing page for the collection on the Digital Commonwealth went live with 1,064 images.

Commanding officer instructs in tactics, V-12 Orientation class, Tufts College

Commanding Officer instructs in tactics, V-12 Orientation Class. Tufts College

As part of the partnership, the National Archives received digital copies of all scans and Boston’s staff are now working to add these popular items into the Catalog, where they’ll join more than 14 million other digital objects. We look forward to sharing highlights from the series here as the project progresses, and have plans for tagging missions that will give Citizen Archivists a chance to explore, engage, and share these records more easily than ever. Check back soon for updates!

Posted in Catalog, Digitization, partnerships, Photographs, Uncategorized | Tagged , , | Leave a comment

Sharing historic moments through Google Arts & Culture’s American Democracy Collection

From political campaigns to conventions, from constitutional amendments to landmark documents, the holdings of the National Archives document the history of American democracy in action.

To share some of these historic moments, we are pleased to participate in Google Arts & Culture’s American Democracy collection, contributing thirteen interactive online exhibits that tell the story of presidential elections in the United States. These specially curated exhibits feature historic photos, documents, videos, and stories related to the history and evolution of elections, how we amend the Constitution, political cartoons and campaign memorabilia.

landing page for the American Democracy Google Cultural Institute exhibit

Some highlights in this exhibit collection include a document proposing a Constitutional amendment to elect the President with a lot system, the story of how LBJ championed the Civil Rights Act of 1964, as well as presidents on the campaign trail, including some never-before-seen pictures of President Richard Nixon addressing the crowd at the Republican National Convention of 1972, photographed by renowned photographer Ollie Atkins and the White House Photo Office.

Richard Nixon standing at podium during campaign, 1972

Richard Nixon Standing at RNC Podium Over Delegates, Campaign 1972

View all of the U.S. National Archives online exhibits in the American Democracy Collection and on Google Cultural Institute.

This project is part of the Google Arts & Culture’s American Democracy collection, which brings together over 70 exhibits and 2500+ artifacts from 44 institutions dedicated to the preservation of U.S. political history and the practice of American democracy.

"Housewives for Truman" in New York, 1948

“Housewives for Truman” in New York, 1948

Can’t get enough campaign memorabilia? Be sure to follow our#ElectionCollection Instagram challenge to see more quirky, cool and surprising historic memorabilia!

Posted in Catalog, exhibits, Photographs, Social Media (Web 2.0), Uncategorized | Tagged , | 4 Comments

The Wartime Films Project: Narrowing the Focus of our User-Centered Design Pilot

This post comes from Jon Voss at Historypin, our partners in the Wartime Films engagement project, and is part of a series outlining how NARA is using design thinking to reach new and existing audiences.

Two weeks ago we introduced the user-centered approach NARA is taking to engage existing and new audiences with our Wartime Films holdings. This week we look at how research and analysis has helped us narrow our focus on particular audiences and a subset of relevant content.

Of course, one of the major challenges at a cultural heritage institution with the size and scale of the National Archives is narrowing the scope of a project like this so that it’s not completely overwhelming. Because we were in the middle of the 100-year commemoration of World War I (from 2014-2018), and had enough lead time to be prepared for the United States entering the War in 1917, we felt that the 2017 anniversary was a natural kickoff for our engagement efforts. In addition to the films, about 100,000 rarely seen WWI images are being digitized and cataloged, all amounting to a lot of new metadata that can be combed for new data analysis.

Grid charting engagement and impact levels for all audiences

From the nine target audiences we identified earlier, we narrowed it down to three different audiences that we thought we could either effectively reach or could develop a deeper level of engagement with. We settled on: educators, museums, and digital humanist/coders. NARA has an amazing education team who works with teachers in regional locations and online through DocsTeach, and can help guide development of teaching aids and curriculum using this newly available content. For the museum partner segment, we are taking full advantage of the fact that all of the content being released for this project is in the public domain. We hope to get the digitized films and photos into the hands of regional and local community museums,helping them to find ways to reuse content in their own exhibits and community events. The NARA exhibits unit has started to lend their expertise toward that end, as well as to make available a WWI-themed traveling exhibit. Finally, we intend to reach out to digital humanists and coders that will have an interest in the metadata about the photos and films for their own uses and scholarly research. For instance, we are exploring how this audience might help parse out names of U.S. training camps and locations mentioned, or whether it’s possible to break out films by scene and compare them with newly-digitized shot lists that provide detailed metadata about each shot.

The three groups we chose to focus on represent the biggest potential for helping NARA reach new audiences and amplify local community efforts.

Persona summary for teachersEducators: This group includes teachers and teacher trainers working at the
K-12 level. Currently, NARA provides strong support to this group through our Education Department and a network of Education Specialists across our regional branches, the
DocsTeach program, and educational publications. There is poten
tial for heavy engagement with this group by collaborating with education staff to complement their programs and getting the wartime film archives into teaching materials.

Personas-Museums

Museums: This group includes history museums nationwide of varying sizes. There is potential to grow engagement with this group, some of whom, have previously searched for NARA content to utilize in exhibits or in their own programming. We can increase museum engagement by tapping
into existing networks and promoting the wartime films as a seed to open up local collections and personal connections in diverse communities around the country.

Personas-CodersDigital Humanists/Coders (originally called History Enthusiasts):  This group currently has limited interaction with NARA and represents a challenge for us to reach. However, close collaboration with NARA’s Innovation Hub offers the potential for high-return results.

 

 

You can read in-depth personas for each groups’ primary needs, behaviors, and ultimate goals for sharing NARA content in this report.

In the next post in this series, we’ll explore the specific goals and outcomes identified for this pilot.

Posted in Digitization, Films, partnerships, Photographs, Preservation, Questions, Research, Social Media (Web 2.0), Uncategorized, Veterans / Military | Tagged , , , , , , , , , | 2 Comments

National Archives and Law Library of Congress Host Wikipedia Edit-a-Thon on Proposed Amendments

The following guest post is by Andrew Weber, a legislative information systems manager at the Library of Congress. It is cross posted on the Law Library of Congress blog, In Custodia Legis.

The National Archives and the Law Library of Congress are hosting a Wikipedia edit-a-thon for the proposed amendments to the U.S. Constitution at the National Archives Innovation Hub on Friday, July 29 from 10:00 am to 5:00 pm.

The edit-a-thon is part of the Amending America initiative at the National Archives, which celebrates the 225th anniversary of the Bill of Rights with an exhibit and a series of National Conversations on Rights and Justice.

Promotional banner for Amending America edit-a-thon, showing National Archives, Wikipedia, and exhibit logos.

There are a variety of great resources that people can draw from for the event.  The National Archives published the dataset of more than 11,000 proposed constitutional amendments to data.gov while A Century of Lawmaking For a New Nation contains U.S. Congressional Documents and Debates from 1777-1973.  There are also many items that you can search and find in Congress.gov.

Interested in joining the edit-a-thon in-person or online? Please visit the Wikipedia page for more information and to register as either an on-site or remote attendee. You don’t need to have any previous experience editing Wikipedia; we’ll teach you everything you need to know. We’d love to have you!

Posted in crowdsourcing, DC-area Researchers, Events, exhibits, Social Media (Web 2.0), Uncategorized, Wikipedian in Residence | Tagged , , | Leave a comment

#ElectionCollection Challenge

Todays post comes from Jeannie Chen, Social Media Coordinator for the Office of Presidential Libraries at the National Archives. This post can also be found on the American Experience PBS blog.

Share your quirky, cool, and surprising historic memorabilia!

#ElectionCollection banner

Get out your historic buttons, bumper stickers, hats, and banners! We’re starting a weekly Instagram challenge called #ElectionCollection to feature your Presidential campaign memorabilia.  

The Presidential Libraries of the National Archives and American Experience PBS invite you to share the unique personal histories surrounding Presidential campaign memorabilia. Cultural organizations keep these artifacts for their historic importance, and individuals save them for the feelings they evoke on a personal level.  #ElectionCollection is a space for people to share their favorite mementos from past campaigns.

We’re encouraging museums, libraries, and cultural organizations to make #ElectionCollection their own by sharing artifacts from their collections. We’re also inviting the public to post images of their own memorabilia and tag it with #ElectionCollection.

In honor of Election Tuesday, we’ll publish a new #ElectionCollection Instagram challenge every Tuesday from July 26 until the Presidential election on November 8, 2016. We’ll also feature quirky, cool, and surprising historic #ElectionCollection memorabilia on Pinterest, Facebook, Twitter, Tumblr, and the blogs of the National Archives and American Experience.

How it will Work:

  1. Each week, we’ll invite the public and our community to a new #ElectionCollection challenge.
    • We will feature objects from the holdings of the Presidential Libraries, the National Archives, and videos and imagery from American Experience PBS.
  2. Each challenge will ask people to feature a different category in election memorabilia.
  3. Show off your cool memorabilia!
    • Post your memorabilia photos on Instagram and tag #ElectionCollection.
    • Tell your friends! Get your followers and community involved in showing off their own #ElectionCollection treasures. You never know what you’ll find in Grandma’s attic.
    • We’ll share highlights from each week of what you all post.

Not on Instagram? No problem!  You can share your #ElectionCollection on any social platform.  Here’s where we’ll be posting:

National Archives:

American Experience:

Talking picture unit designed by the Transport Publicity Corporation for Herbert Hoover’s 1928 campaign. Hoover Presidential Library and Museum.

Talking picture unit designed by the Transport Publicity Corporation for Herbert Hoover’s 1928 campaign. Hoover Presidential Library and Museum.

Franklin D. Roosevelt and Harry S. Truman campaign button, 1944. Truman Presidential Library and Museum.

Franklin D. Roosevelt and Harry S. Truman campaign button, 1944. Truman Presidential Library and Museum.

John F. Kennedy campaign poster, 1960. JFK Presidential Library and Museum.

John F. Kennedy campaign poster, 1960. JFK Presidential Library and Museum.

JCPL Carter gold donkey pin

Carter gold donkey pin, 1976. Carter Presidential Library and Museum.

FordGlasses_Memorabilia

Sunglasses designed and manufactured by A. Dean Watkins Co. for Gerald R. Ford’s 1976 presidential campaign. Ford Presidential Library and Museum.

Reagan-Bush campaign hat with bumper sticker, 1980. Reagan Library.

Reagan-Bush campaign hat with bumper sticker, 1980. Reagan Library.

 

 

Posted in crowdsourcing, Photographs, Presidential Libraries, Social Media (Web 2.0), Uncategorized | Tagged , , | Leave a comment

National Archives program trains Wikipedians in cultural heritage outreach

Editors’s note:  On June 14–16, the National Archives hosted its second GLAM Boot Camp. This program, funded by the National Archives Foundation, is an outreach-focused, skills-building workshop for Wikipedians partnering with cultural institutions. You can read more about our first GLAM Boot Camp in 2013 over on the Wikimedia D.C. blog. The following summary of the event comes from three of our participants: Kelly, Rob, and Kevin.

GLAM Boot Camp attendees with Archivist of the United States David Ferriero (CC-BY-SA, by Fourandsixty)

GLAM Boot Camp attendees with Archivist of the United States David Ferriero (CC-BY-SA, by Fourandsixty)

Last week, fifteen Wikipedia editors converged on the National Archives to attend the GLAM Boot Camp. “GLAM” stands for Galleries, Libraries, Archives, and Museums and “GLAM-Wiki” is an initiative to encourage the Wikipedia community and cultural institutions to create partnerships to the benefit of both.

The participants came from across the United States. Thirteen states were represented: California, Florida, Louisiana, Indiana, Nevada, New York, Ohio, Oklahoma, Pennsylvania, Virginia, Washington, West Virginia, and Wisconsin. Some were veteran Wikipedians of many years, others were relatively new. All were interested in bringing back what they learned to help engage in local efforts with cultural institutions like museums, libraries, universities, and historical societies. Previous attendees of GLAM Boot Camp have worked with institutions like the University of California, Berkeley and the National Institute for Occupational Safety and Health (NIOSH). One graduate of the GLAM Boot Camp 2013, Alex Stinson, is now the GLAM-Wiki Strategist for the Wikimedia Foundation, and returned this time as a main trainer for GLAM Boot Camp 2016.

The boot camp was a three-day intensive training provided by staff from the National Archives, the Smithsonian Institution, American University, and the Wikimedia Foundation. Most of the training occurred in NARA’s Innovation Hub, but participants were also able to go behind the scenes at the Smithsonian American Art Museum and the Smithsonian National Museum of Natural History. Attendees learned how to work with different types of cultural institutions and how they could engage those institutions and their audiences with not only Wikipedia, but other Wikimedia projects, including Wikimedia Commons (a free image and file repository), Wikidata (a collaborative metadata knowledge base), and Wikisource (an online library of public domain texts). They also gave individual lightning talks about the work they were doing with their own local cultural institutions.

Participants also got a chance to implement what they’d learned by participating in an editathon at Innovation Hub that was open to the public. An editathon is a public event where Wikipedia editors, members of cultural institutions, and the general public help each other collaborate on editing Wikipedia about specific topic areas. As part of NARA’s Amending America initiative, National Archives staffers hosted an editathon about LGBT history.

Several GLAM Boot Camp participants will be taking what they learned back to their respective universities. Kelly Doyle, a Wikipedian in Residence for Gender Equity at West Virginia University Libraries, works to close the well-documented gender gap on Wikipedia by recruiting students and academics alike to add content about women to Wikipedia—and specifically women from the Appalachian region. Kelly plans to partner with archival libraries throughout West Virginia and southwestern Pennsylvania by adding information and freely licensed images to Wikipedia from these institutions holdings about this underrepresented group on Wikipedia. Kevin Payravi, an undergraduate at the Ohio State University, leads a student organization, called Wikipedia Connection, that encourages Wikipedia editing for students and faculty through weekly workshops, editathons, and other events. Kevin plans to take what he learned back to fellow Wikipedia Connection members, and then work as an organization to collaborate with the University’s libraries and archives to bring free content to Wikipedia.

Why is work like this important? Everyone reads Wikipedia. It is often said that Wikipedia is the encyclopedia that “anyone can edit,” but, unfortunately, relatively few people do. Even cultural and information professionals are often hesitant to edit, unfamiliar with the website’s rules, jargon, and tools. GLAM Boot Camp graduates can work with their local cultural institutions to help them engage with Wikipedia and other Wikimedia websites, tools they can use to enhance their collections, further their educational missions, and expand their audience beyond the walls of their institution. As the seventh-largest website in the world, Wikipedia has the potential to offer even the smallest cultural institution a global reach.

Kelly Doyle, Wikipedian in Residence for Gender Equity at West Virginia University

Robert Fernandez, Assistant Professor, Reference/Instructional Librarian, Saint Leo University

Kevin Payravi, President of Wikipedia Connection at the Ohio State University

Posted in crowdsourcing, Events, Open Government, Social Media (Web 2.0), Wikipedian in Residence | Leave a comment