Active History

Merchants of Death: Canada’s History of Questionable Exports

April 18, 2016 No Comments

By Stephanie Bangarth and Jon Weier

LAV-III. DND Photo

I must say that I feel the whole Canadian policy to be very hypocritical. We talk a good game but then proceed to act inconsistently by promoting trade with the countries whose policies we denounce.[1]

The year was 1974 and the issue of Canadian trade with South Africa was making the headlines, along with concerns over the sale of CANDU reactors to Argentina and India. It reflected the increasing awareness of and support for human rights in Canadian foreign policy during the late 1960s and the early 1970s. As David Forsyth notes, as a general historical trend, more attention is now paid toward humanitarianism in world affairs.[2] In part, this development was due to parliamentarians such as New Democrat Andrew Brewin, who were central in making the issue of human rights more than merely a domestic issue.

Brewin’s statement is as relevant today as it was in 1974. Since its election in October 2015, Prime Minister Justin Trudeau’s new Liberal government has been dogged by the continuing saga of the sale of armoured vehicles to Saudi Arabia. This deal, initially pursued and approved by the previous Conservative government, would see General Dynamics Land Systems sell $15 billion worth of Light Armoured Vehicles (LAVs) to re-equip the Saudi National Guard. These LAVs are to be produced at the General Dynamics production facility in London, Ontario, and were a centrepiece of the previous Conservative government’s plan for bolstering the Canadian arms industry through increased exports. Continue reading →

Graffiti Is a Revolutionary Act at a South Africa University

April 14, 2016 No Comments

Photo: Lihlumelo Toyana

By Rachel Hatcher

[Originally published by teleSUR and the first post in a series titled “Learning and unlearning history in South Africa’s public spaces”]

Students rewriting the history of South Africa on buildings and statues at the University of the Free State is an important act of restorative justice.

In recent years, students in South Africa, Chile, Québec, and elsewhere, have been protesting neoliberal/neocolonial policies, including the outsourcing of workers on campus and significant hikes in tuition fees. In South Africa, protests by mostly Black students against tuition hikes took place under declarations that Fees Must Fall. Yet, students in South Africa are also protesting continued institutional racism, and even white supremacy, on university campuses and the continued colonization of higher education. Indeed, the Fees Must Fall movement is in some ways inspired by and a continuation of the Rhodes Must Fall movement that began in early 2015 and that was successful in demanding the removal of the statue of imperialist, racist, and mining magnate Cecil Rhodes at the University of Cape Town. These protests have taken place in the larger context of widespread disappointment that the promise of 1994 has not been realized, that little has changed in South Africa since the apartheid-era ended and the first democratic elections were held, and that what changes have been made have mostly been cosmetic. Racism, especially institutional racism, remains and few structural reforms have been carried out.

At the University of the Free State (UFS) in Bloemfontein, a traditionally Afrikaner university in a traditionally Afrikaner and very conservative town and province (the Free State), Fees Must Fall protests were muted in 2015, at least in comparison to other universities. In February 2016, however, the workers’ strike against outsourcing and un-liveable, low wages, which many Black students activists participated in in solidarity with the workers, morphed into protests about just those underlying issues that Fees Must Fall was about — institutional racism and a lack of transformation at the university. Continue reading →

History Slam Episode Eighty-Two: Historically Inspired Baby Names

April 13, 2016 2 Comments

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By Sean Graham

hello-my-name-is I am not a parent. Nor am I close to becoming a parent. That being said, one of the things that strikes me as a major challenge of early parenthood – perhaps the first challenge after a child is born – is picking a name. The challenges of finding the right name has long been a sitcom staple. And while it may seem easy to pick a name that doesn’t rhyme with a female body part, I would be overwhelmed by the options available. I can stand in the cereal aisle for 20 minutes trying to decide what to get, so the prospect of picking a name seems really intimidating.

Yet, every day people are able to name their kids. Over the past five years, I’ve had a bunch of friends who have gone through the process of naming their newborn children. The consensus seems to be that naming is easier than it seems from the outside – that while there can be and often is lots of discussion beforehand, the right name tends to be clear when the time comes.

The reasons for picking a name can vary greatly, from liking the one a name sounds to honouring a departed family member to concluding that a newborn ‘looks’ like a certain name. Less common, however, is naming your kids after prominent historical figures. While it does happen on occasion, it can be challenging to find a name that is both inspired by someone from history and also fits in the 21st century. Continue reading →

In Search of Digital Literacy in Canadian History Programs

April 12, 2016 2 Comments

By Stacey Devlin

For both students and practicing historians, a wealth of information is often just a few clicks away. Photo by Thomas Lefebvre via unsplash.com

During the second half of my MA, my colleagues and I were tasked with preparing an exhibit about early-twentieth-century medicine. Not having a background in medical history, I began by downloading archived medical periodicals from Early Canadiana Online. I reasoned that if I could identify important conversations of the profession during the period of interest, I would have clear leads for exhibit content. What were considered standard practices? What were the pressing issues or the latest controversies? Unfortunately, I wasn’t at liberty to read the thousands of pages I had downloaded, let alone to keep an ongoing record of topics or word usage. During the previous semester, however, I had taken courses on digital history and digital research methods. After using Voyant Tools to generate a list of frequently used words in my periodicals, I put together a program to extract instances of these key words and save them in new documents for review. My processing of the periodicals ended there, but even this simple operation gave me useful direction for continued research.

In the two years since then, I’ve continued to use a variety of technologies in my work. My university training in digital history (and the willingness to embrace new technologies in general) has been helpful in finding employment opportunities outside the academy. I incorporate digital tools into my workflow because they’re illuminating, time-saving, and even fun. However, digital literacy was not a priority during most of my university career. Similarly, I have few peers that would consider themselves digital historians, despite the fact that research is routinely conducted online and the digital humanities are a frequent topic of discussion within the discipline. Continue reading →

Creating the Historical Record in Literary and Personal Archives

April 11, 2016 3 Comments

by Krista McCracken

Part of the Brian Vallée fonds. Photograph taken by author.

Part of the Brian Vallée fonds. Photograph by author.

Archives document people, organizations, and communities from almost all walks of life and are most commonly referred to for their historical value and viewed as repositories of things of intrinsic and lasting historical value. This is also true in the case of literary archives and the personal archives of creative practitioners, but these archives have the added potential to be records of culture, provide insight into individual creative practices and elicit scholarly debate.

Until recently my exposure to literary archives had been very limited. I knew they existed but in my case, coming to archives from a history background, literary and artistic archives were always on the periphery but were never the focus of my work. For me archives were more about historical documentation, snapshots of time, and about telling community histories. So, how do literary and artistic archives fit within the larger archival frameworks and how can these archives be useful to historians? Continue reading →

History Slam Episode Eighty-One: The Bank War

April 8, 2016 1 Comment

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Yesterday, Jonathan McQuarrie wrote about the smash Broadway show Hamilton. Even before the show, when most people thought about the establishment of the financial system in the United States, Hamilton was likely the first person to come to mind. President Andrew Jackson, probably wasn’t top of mind, while Nicolas Biddle remains a largely unknown figure. That’s why Paul Kahan’s new book The Bank War: Andrew Jackson, Nicolas Biddle, and the Fight for American Finance is so interesting.

The book traces the battle between Jackson and Biddle through the 1830s as the President tried to dismantle the national bank while Biddle fought to preserve the institution. Ultimately, Jackson prevailed, a result that had major implications for the American economy through the 19th century.

In this episode of the History Slam, I talk with Paul Kahan about the book. We talk about the challenges of writing popular history, the history of America’s financial structure, and the role of personalities in early American history.

Continue reading →

Hamilton: A Belated Discussion

April 7, 2016 1 Comment

By Jonathan McQuarrie

Via hamiltononbroadway.com

It turns out rap is a perfect medium for history. Hamilton has become a touchstone musical, winning laurels from a range of audiences from musical aficionados to people (like me) who are never quite sure why everyone is singing. Its wide appeal has made it a notoriously difficult ticket to get—as of this writing, the tickets are “extremely limited” and ticket resale sites ask for $500 to $700. As the New York Times reviewer noted, “I am loath to tell people to mortgage their houses and lease their children to attend a hit Broadway show. Hamilton, directed by Thomas Kail and staring [Lin-Manuel] Miranda might just be worth it[.]” For those unwilling to resort to such extreme measures (including myself), the cast recording is widely available, and captures much of the energy and power of the work. It has the feel of being one of those generational musicals with the power to define how many people understand a historically significant figure, much as Les Misérables shaped understanding of the French revolutionary period.

Hamilton is a lasting success. So, we need to pay attention to this cultural moment. Here’s why.

One need not read a fully footnoted work to find some analytically rich and complex material. The creator, Lin-Manuel Miranda, demonstrated an impressive commitment to historical accuracy. He drew rigorously on Ron Chernow’s popular, but extensive, biography of Alexander Hamilton, and Chernow contributed as a consultant to the production. Other historians have largely praised the work’s portrayal, noting only minor omissions or confusions. Indeed, the approximately three hour work is remarkable for how much detail it does include, from Hamilton’s efforts to form a new financial system to an intricate detailing of the rules of dueling. The “Cabinet Battles” are must-listens.

Continue reading →

Who Teaches Digital History in Canada?

April 6, 2016 22 Comments

By Sean Kheraj

Digital history is coming to York University in Fall 2016. That is to say, I finally got around to organizing and preparing to teach digital history. As I get ready to teach this course, I am surveying the landscape of digital history teaching in Canada, looking for ideas. Readers of this article, I hope, will help by posting suggestions and links to resources in the comments below.

For many years now, I have integrated digital history skills, assignments, and exercises into my history courses. Continue reading →

Performing For War, Hoping For Peace: Canadian Actresses’ Transnational Engagements with World War I

April 4, 2016 No Comments

By Cecilia Morgan

It opened with a number of trumpet calls, followed by the boom of cannons. Then the curtain rose and the central attraction of the 1917 vaudeville production Liberty Aflame was revealed: Julia Arthur, dressed as the Statue of Liberty. According to theatre reviewer Alan Dale, “Miss Arthur stood, as all stars love to stand, in the absolute centre of the stage, and on high. Flowing robes encircled her, her brow bore Liberty’s crown, and she had a torch in uplifted hand. No other star could have revelled in anything more stellar. The storm raged around her. Glimpses of Manhattan, illuminated, might be seen in the background, but Liberty on her pedestal, a loquacious and very chatty Liberty, confronted the audience.” As Arthur spoke, a stereopticon show was displayed on the statue’s base. Featuring patriotic actors from American history – the Minute Men, George Washington, and Abraham Lincoln – it then proceeded to show the audience the sinking of the Lusitania, described by Arthur as a “needless sacrifice.” The next photograph was that of Woodrow Wilson, who explained his aims in taking the United States into World War I and asked for his nation’s help, an appeal Arthur underscored with her call for the country’s young, strong, and healthy male citizens to represent liberty and win the battle. As she told readers, all of this was met with “great cheering” from the audience. After all, “Julia Arthur’s name means much to vaudeville, but her present vehicle means much to the country and its producers are doing a valuable service to Uncle Sam.”

Throughout the late winter and spring of 1917, Liberty Aflame played in vaudeville houses across the United States, where – judging from the many reviews – it was deemed a great success. While some reviewers felt it was unseemly to imitate the voices of the dying Lusitania passengers and crew on a vaudeville stage, they also recognized the “majestic dignity,” sincerity, and intensity with which Arthur endowed her character.

Fig. 1 Theatre and Silent Screen Actress Florence La Badie Digging a Victory Garden, c. 1917. Tannhouser Studio Publicity Photograph. Courtesy New York Public Library, Billie Rose Theatre Division.

Liberty Aflame was a particularly spectacular example of actresses’ promotion of wartime patriotism. Yet it was by no means an isolated event. Continue reading →

On Wreaths and Graffiti: Reading Defacement and Nostalgia at Ottawa Monuments

April 3, 2016 No Comments

Active History is proud to present a video each week from New Directions in Active History. The conference took place at Huron University College on October 2-4, 2015 and brought together scholars, students, professionals and community members to discuss a wide range of topics pertaining to active history.

This week’s video marks the last video post from the 2015 Active History Conference. Tonya Davidson, a sociologist of public memory at Ryerson Univeristy, researches the ambivalent feelings Canadians have towards monuments. She explains that although monuments are often dismissed as being “ideological tools of the state”, when something happens at the monument, or to the monument, public attention tends to be “aroused”. She explains that part of the reason for the public outcry is that we view monuments on the one hand as, “dynamic, live witnesses…to the past”, but we also see monuments as “very active” in the present as well. Davidson goes on to speak about the defacement done to two sculptures on the Parliament buildings by peace protesters in 1985 and explains how the restoration of the vandalism can make us think about the ways in which we can grapple with monuments and multiple histories. Davidson then analyzes two other monuments in Ottawa, the Samuel De Champlain statue at Nepean Point and the Human Rights Monument located at the corner of Lisgar and Elgin. Using these two examples, Davidson explains how monuments can serve as problematic representations of nostalgia and also how they can be political statements with contemporary resonance.

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