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Among professional historians, oral history-the use of the tape
recorder to capture memories of the past in private interviews-has become
increasingly popular. The versatile technique is widely used to unearth
valuable information about American families and regional occurrences as
well as about Presidents, statesmen, and national events.
Oral history is also an intriguing pursuit for amateurs, who are
availing themselves of inexpensive cassette recorders to compile memoirs
of grandparents and histories of their communities or local organizations.
In recent years, a historical self-consciousness resulting from the
nation’s Bicentennial, the popularity of Alex Haley’s Roots, and the work
of writers like Studs Terkel have boosted the popularity of oral
history.
My experience as director of the University of Connecticut’s Center
for Oral History-where I have conducted hundreds of interviews ranging
from taped conversations with prominent scholars and public figures to
those with unskilled workers and ordinary citizens-reinforces my belief
that oral history can be fun when you are prepared and like pulling teeth
when you are not.
The amateur oral historian may be tempted simply to place a recorder
in front of the oldest person around and ask for reminiscences. However,
at the Center for Oral History, founded twenty years ago and expanded in
the late 1970’s, we have found that careful selection of interviewees help
ensure a successful project. Other safeguards include assembling the
proper equipment, doing background research, planning the interview in
advance, conducting the interview thoughtfully, and transcribing it
afterward.
Equipment
For the neophyte oral historian, the only
necessities are a tape recorder and cassette tapes. It is probably safest
to use a recorder that operates on electricity rather than batteries.
However, since a recent visit to China, which necessitated that I travel
light, I have successfully using Sony TCM-3 small recorders powered by
four AA alkaline batteries (always carry extras). I usually have two
recorders simultaneously to provide a backup and to make certain that
mechanical trouble does not abort the interview. When using a plug-in
recorder, always carry an extension cord because the nearest socket may be
a distance from the recorder. It is helpful to have a pause button so that
interruptions can be accommodated without turning off the recorder.
The interviewer should consider whether the tape will be the only
record of the interview. Because my goal is always to produce a written
transcript rather than radio-quality sound, I use recorders with built-in
microphones, which pick up more machine sounds than a detached microphone
(preferred by many oral historians). I like the built-in mike because it
is less intrusive: It can disappear as the interview proceeds, allowing
both parties to forget that they are talking for the record.
I usually choose C-90 tapes, cassettes with forty-five minutes of tape
on each side. The optimum interview session is about two hours, and C-120
two-hour cassettes are available; but in the early days of cassettes the
two-hour tapes tended to rip. When purchasing tapes, note whether screws
or glue holds the tape together. The cases with screws can simply be
unscrewed if the tape tangles, whereas glued cases will have to be cracked
open. While many tape brands are reliable, I have been using Scotch in
recent years.
Although videotaping is increasing employed today, I find that it
often gives rise to the "talking head" syndrome and is not worth the added
expense. Occasionally, however, an interviewee may be demonstrating
something worth videotaping. In China, for instance, an architect
explaining his creation of the Chinese National Style of architecture drew
the "squiggles" he added to the roof line of a building that resembled St.
Peter’s Cathedral. (Although I did not have a video cassette, I was able
to bring home the drawings.)
Preparing for the interview
Begin by having a clear idea of the purpose of the interview. What do
you expect to learn? Whether the plan is to interview a family member
about his life or to record conversations with many individuals about the
history of a town or neighborhood, make certain that the interviewee wants
to cooperate. By phone, letter, or in person, explain the purpose and
content of the interview. Although some practitioners of oral history
recommend a pre-interview, nonrecorded session to get acquainted, I find
that such sessions diminish the spontaneity of the actual interview.
The interviewer should be well prepared before undertaking the
interview. Background research is essential to formulating good questions
and conducting a useful interview. An interviewer who has not done the
necessary research will not be able to draw out an interviewee and learn
as much as possible about the subject. Sources for background research
depend on the subject, but family genealogies, local histories,
newspapers, obituaries, censuses, and city directories are good starting
points.
Conducting the Interview
After arriving at the place of the interview, make certain that the
environment is appropriate for a recorded conversation. I believe that
interviewees are most comfortable as home and that the best place for an
interview is around the kitchen table. The table provides a solid surface
for the recorder at a good height, and interviewer and interviewee can
face each other. Before beginning, check to see that the windows are
closed, the washing machine is not running, and the cuckoo clock is turned
off. The telephone is a constant threat, and the well-meaning third party
who brings coffee or tea and other goodies can disturb an interview. (The
pause button is helpful in those situations.)
Try to interview one person at a time. While two
or more interviewees can jog one another’s memories, more often having
additional interviewees is confusing. Start the interview with general
questions. I always begin with a person’s youth, education, and family
because, except in most unusual cases, people are willing to talk about
themselves. Then follow up with the researched and prepared questions,
which should be framed to capture the broadest, most informative response.
While most people have many opinions, the best oral history deals with
first-hand experience. Someone who lived through the Great Depression, for
instance, probably did not make New Deal policy in Washington, but is a
good source of information about the price of eggs or everyday life in his
town.
Sometimes an interviewer elicits unexpected and important information
simply by permitting the interviewee to speak. At other times, however,
the speaker may seem to be intentionally or unintentionally misleading.
When things move off the track, a polite nudge is in order-for instance,
the interviewee may say, "Well, I read that it happened this way. Does
that make sense to you?" or "Someone else suggested that it happened this
way. What do you think?" The interviewer should bear in mind that the
person being interviewed is doing him a favor.
In some ways, however, the interviewee is being favored-especially in
the case of an elderly person who led an "ordinary" life. That an
interviewer considers the subject worthwhile indicates that the life lived
is significant and worthy of being recorded. The oral-history interview
thus has psychological implications, often serving as a catharsis when the
interviewee reveals incidents in his or her life that may have been
bottled up for decades.
During the interview, write down any names and words that may require
spelling if the interview is to be transcribed. After the interview, ask
the interviewee about proper spelling and develop a spelling list. Another
thing to remember at the end of the interview, especially if strangers are
involved, is to have the interviewee sign a form indicating that he
participated in free will and giving permission to use the material
contingent upon the production of a final transcript. That document should
be accompanied by a final release form granting permission to use the
transcript after the interviewee has read it.
Transcribing
Most researchers will want to read a transcript rather than listening
to a tape, especially if many tapes are involved. Reading is simply much
faster. The best person to transcribe is often the interviewer, because he
is most familiar with the interview. However, transcribing is an art, not
a simple skill. It is very time consuming, and the transcriber needs an
excellent ear and superior ability in grammar and punctuation.
Transcribing is also expensive.
Unfortunately, many local oral-history projects do not transcribe,
thereby rendering their collections less useful. To compensate, they
sometimes prepare digital indexes using the tape recorder’s digital
counter: for instance, 1-57, early childhood; 58-103, high school and
college; and so forth.
Some projects turn to professional transcribers such as Tapescribe, a
service of the University of Connecticut’s Center for Oral History. (For
information about transcribing and forms to use in oral-history work,
write Michele Palmer, Manager, Tapescribe, Center for Oral History, U-103,
University of Connecticut, Storrs, Connecticut 06268.) After the first
draft of a transcript is completed, it is returned to the interviewee, who
can make corrections and changes. A final draft is then typed. In recent
years, editing has been facilitated by word processing, which makes the
word processor another piece of useful equipment to those transcribing
their oral history.
Once the project is completed, the tape and/or transcript can be used
as the basis for an article or pamphlet or book. It can be united with
photographs to create a photo-oral-history exhibit. It can be united with
photographs to create a photo-oral-history exhibit. It can be made into a
play in which all the dialogue is taken from the words of the original
interviewees. Whatever its final use, the well-planned oral-history
project is more than just placing a microphone in front of someone and
asking him or her to reminisce. That is its core, but thoughtful planning
determines its ultimate usefulness and enjoyment.
Written By: By Bruce M. Stave
If you have questions or comments, please email us at
tbhc@bgct.org.
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