The History Workshop in Johannesburg emerged from intersecting impulses that coursed through the academy and society in South Africa and globally in the 1970s and 1980s. Noor Nieftagodien on its history and present.
What does a pandemic look like when remembered through someone's personal archive? Sarath Pillai reflects on the value of dream diaries and insurance forms in the history of the AIDS pandemic.
What is digital citizen history and how can we engage with it? Hannah Barker and Stefan Ramsden discuss their ongoing project, 'Our Histories, Our Stories'.
What has changed - for better and for worse - since the publication of the RHS 2018 report on racial inequalities in UK university History departments?
What can the radical tradition of costume & performance at Notting Hill Carnival tell us about a decolonised approach to the teaching of history? Ife Thompson on the People's War Carnival Band
How does in-access to archives provide opportunities to ask alternative questions about the past? Elisabeth Leake reflects on how personal and professional circumstances ultimately shape the histories we produce.
What does 'history from below' looking like in the Philippines? In this piece Justin Umali reflects on communities finding their "historical place" in a narrative.
How can we creatively utilize historical research to bring the past to life? Josh Allen discusses the importance of using archival sources, oral histories and material culture in a creative fashion to bring myth, metaphor and anecdote back…
Family history is in robust health, after years in the scholarly wilderness. Sophie Scott-Brown looks at new horizons for this rich seam of history, colliding private with public and biology with culture in provocative ways
Oral history creates a rich world of storytelling around any type of collection. Its methods can also shape a museum’s relationships and core identity.
Writing the history of IVF means linking the intimate experiences of conception, gestation, and parturition with global and transnational processes. Vera Mackie, Sarah Ferber, and Nicola J. Marks explore.
Creative writing is not a conventional primary source for historians of eastern Africa. However, examining marginalised actors’ histories can be invaluable in filling the gaps left by traditional archives.
