This blog takes you behind the scenes of the State Historical Society of North Dakota. Get a glimpse at a day-in-the-life of the staff, volunteers, and partners who make it all possible. Discover what it takes to preserve North Dakota's natural and cultural history.
While most of my internship at the State Historical Society was spent working with collections in the deep recesses of the museum, one of my projects was to create an exhibit commemorating the upcoming 100th anniversary of woman suffrage (right to vote). This meant my work was actually going to be seen by the public, as I was writing, designing, and compiling objects specifically for public viewing. It was an exciting change! While planning for this exhibit, I decided to expand upon the topic and include not only objects related to the early suffrage movement, but also highlight North Dakota women’s leadership and activism through the 20th century, showing how the ripples from the woman suffrage movement continue today.
To help illustrate the scope of these women’s work, I chose objects from international and national women’s rights events and the push for the Equal Rights Amendment (ERA) in the 1970s and ’80s.
The museum collection holds many artifacts related to women’s rights activism, most of them being buttons, ribbons, and clothing. But there was one unusual item: this bracelet from the 1970s. It has a cutout reading ERA, referring to the Equal Rights Amendment, a proposed amendment to the US Constitution guaranteeing equal rights regardless of sex. This bracelet is the only piece of women’s activism jewelry in the collection, directly drawing attention to the ERA and the ongoing fight to ratify it.
This smock is from International Women’s Year (1975). The garment is from the donor’s days as an activist working to gain ratification of the ERA. In choosing it for the exhibit, I hoped to put women’s activism in a global context, as International Women's Year was celebrated by the United Nations. So not only is the smock fashionable, it’s making a political statement and is a marker for a year in which women’s rights were recognized on a global scale.
Finally, one of my favorite artifacts in the exhibit is this tote bag reading “A woman’s place is in the House . . . and in the Senate.” This object’s existence is a direct result of women becoming engaged in politics. It was purchased by the donor in 1981 during the 53rd Girls Nation held at Georgetown University in Washington, DC. I loved researching Girls Nation, an ongoing program introducing girls to the workings of government. This tote helps show the scope of organizations encouraging women to become leaders in their communities, while also proudly bearing a slogan I’d like to cross-stitch onto a pillow.
By expanding the scope of the exhibit using these objects, I hoped to draw a direct line from women gaining suffrage to activism continuing through the 20th century and today. Women’s direct participation in politics and activism helped pass the 1917 North Dakota Suffrage Bill, and continued activism by women in the decades following have strengthened support for advances in equality like the ERA. I love how the exhibit turned out, and it made me hopeful that the State Historical Society museum collection will continue to add artifacts symbolizing North Dakota’s history of women’s activism.
It’s autumn and a delightful time to wander the urban centers of North Dakota and beyond. In urban landscapes we find a variety of brick patterns and stone work that over time have lent much of the historic character to downtown areas. Below is a historic masonry bingo card that you can print out and take along to identify some of the fascinating details found in common buildings. It includes brickwork details, stone masonry, and concrete masonry units (CMUs).
See if you and your friends can bingo in your walk around town by finding matching examples in your area.1 Check off the examples you see and try to get a straight line of four spaces across, down, or diagonally, and the first one to do so wins.
Brats, beer, bricks, and bingo anyone?
Glossary
Buttered Joint – A thin masonry joint made by applying a thin layer or mortar to four sides of a brick.
Common Brick – Softer bricks, which are less uniform and regular than stock bricks. Stock bricks resist weathering better than common brick.
Concrete Masonry Unit (CMU) – Concrete blocks were introduced in the early 1900s with presses that could manufacture a single CMU when the operator was able to exert significant pressure on the press bar. A rusticated (with uneven texture made to simulate rock) version was popular by about 1916, was mass-produced, and used in foundations.
Brick Bonds
American or Common Bond – A pattern or brickwork in which every third, fifth, sixth, or seventh course consists of headers (short end of brick exposed), and the other courses.
Herringbone Bond – A variety of ways of assembling bricks in diagonal zigzag fashion.
Running or Stretcher Bond – A bond in which all bricks are laid lengthwise.
Quoin – A hard stone or brick used to reinforce an external corner or edge of a wall, often of a contrasting color to other stones or bricks.
Spalling – The flaking of brickwork due to frost, chemical action, or movement of the building structure.
Workers making bricks at Fort Totten, Dakota Territory. SHSND 0670-024
Ceramic bricks have been manufactured in what is now North Dakota since 1868 at Fort Totten. Suitable clay was near the shore of Devils Lake, and workers employed by the US Army placed mud by hand into wooden forms. These green bricks were carefully stacked to allow air to circulate, and then previously burnt bricks surrounded those to be fired. The burnt bricks were covered with clay, and a fire was meticulously maintained to bake the bricks. The structure was a scove kiln and the method very primitive. Many of the buildings still standing at Fort Totten are of the common or soft brick produced under basic conditions and completed in the late 1860s or early 1870s.2
Commanding Officers Quarters, Fort Totten. SHSND 00137 0046
Stutsman County Courthouse line drawing detail by N.C. Koch and Company, Milwaukee, Wisconsin, found in A&HP Site 32SN0045.
The Stutsman County Courthouse, built in 1883, is an imposing example of Gothic Revival architecture with massive masonry walls on an ashlar granite foundation. “Father of Jamestown” Anton Klaus started a large brick-making plant in 1882, and the dark, cranberry-colored bricks came from his facility on the east side of the James River about 1.5 miles east of Jamestown. The manufactured bricks are still soft by modern standards, but much more durable than those at Fort Totten.3
De Morès Memorial Park is in the City of Medora. Sandstone is the featured material in the walls, paving blocks, fountain, seats, and small shed. Constructed in the 1940s, the park was a Civilian Conservation Corps project led by National Park Service landscape architect Weldon Gratton. The sandstone came from a quarry near Sentinel Butte.
1 Many thanks to Colorado Preservation Inc. and the Masonry Restoration and Identification Workshop held in Denver on July 26, 2019, for the masonry bingo idea.
2 Frank E. Vyzralek, “Brick Making in North Dakota, 1868–1998,” p. 1, MSS 10553 sub-series III Brickmaking, North Dakota State Archives, State Historical Society of North Dakota, Bismarck.
In 1828 Washington Irving published A History of the Life and Voyages of Christopher Columbus, in which the story’s hero audaciously proves to medieval Europeans the world is not flat. American school children ever since have learned the story of how Columbus “proved” Earth is round. Unfortunately for critical thinkers everywhere, Irving, famous for stories like “Rip Van Winkle” and “The Legend of Sleepy Hollow,” exercised a great deal of artistic license. He was more interested in telling an electrifying story than an accurate history.
The truth is, Columbus’s peers generally believed Earth was round. In fact, the awareness of a round Earth dates back at least to Pythagoras during the 6th century BC. It is unfair to generations of students to mislead them with an unnecessary story that is debunked with some basic fact checking and historical thinking.
The edge of the (flat) Earth: Here There Be Monsters. Image courtesy of www.john-howe.com
Historical thinking involves repeatedly asking, “How do we know?” It is important to be skeptical and verify information using the same methods historians use to evaluate sources. Every day we encounter and process information that needs to be evaluated and analyzed for accuracy, perspective, and potential bias. We consume a great deal of content through social media, websites, newspapers, books, movies, television, and countless other media. It is crucial for society that citizens learn how to apply historical thinking skills to this material, especially when so much, like Irving’s, might have more in common with an article from The Onion instead of an encyclopedia entry. How is a person supposed to navigate all this material and trust what they read?
A photo of Earth from space looks pretty convincing to me. NASA image courtesy of the DSCOVR EPIC team.
Guiding people through historical thinking methods is part of my job as a museum educator. This requires a reader to understand the context of an issue, and consider multiple perspectives. When a historian sits down to read a book, reading the main text is not likely the first thing she does. A historian first focuses on the introduction to understand the point the author is trying to convey. They study the bibliography to get an idea of what sources the historian used and the breadth of their research. They also evaluate whether an author’s interpretation is supported by evidence from a variety of sources.
Before digging into the main content, we might also do a little bit of digging to learn more about the author. What are their credentials? Are they an expert on the topic? What overarching point, the thesis, are they trying to make?
Historical reading and thinking is a critical skill for readers of all ages to develop. By thinking historically and critically, we can catch Washington Irving’s mistake of playing fast and loose with the facts. We can also avoid the mistake of teaching false and misleading history. Let’s all practice thinking more like a historian and think critically about the media we are exposed to.
Ask these questions of images, text, and other media to avoid falling for Washington Irving–style whoppers. Image courtesy of Stanford History Education Group.
My name is Kaelyn Olson, and I am working toward a master of arts degree in applied anthropology from Mississippi State University. During the three months of my internship, I have been working with collections from projects on U.S. Army Corps of Engineers–managed lands. In addition to the usual lab duties, I became a member of the North Dakota Archaeological Association (NDAA), worked with volunteers, and expanded my professional network. This internship was an outstanding opportunity for me to learn skills that were not covered in my university education and previous work experience, as well as honing skills that I had only limited experience in. I was already fascinated by the history of North Dakota and the northern plains, and this internship only served to deepen my appreciation of this region. While some of the day-to-day tasks of being a collections intern may not seem glamorous or exciting to the casual viewer, the work is extremely satisfying, and each new box is its own adventure. I’ll be sad to leave these collections behind as I return to school, but I am excited to know that the collections will be ready for research and additions when I come back.
Kaelyn Olson in one of the archaeology collections storage rooms, holding an elk antler for scale.
Thank y’awl for being for being so welcoming this summer!
An image comparing artifacts packaged in 1964 (right) to artifacts that have been sorted, cleaned, and “rehabbed” by summer interns (left).
Hi, name is Sylvia Sandstrom and I will be graduating with my bachelor of arts degree in anthropology with an archaeology emphasis from Minnesota State University Moorhead in December 2019. I began my position as an archaeology collections intern in late May 2019, and in my time here over the past three months I have learned more than I could have ever imagined and achieved goals that make me feel entirely fulfilled.
My primary task was to work with collections owned by the USDA Forest Service, which are housed and cared for by the State Historical Society of North Dakota. Four boxes of artifacts from Government Creek were my first project, which included re-bagging the artifacts into archival materials, assigning unique accession numbers to each artifact, and entering every single artifact into our catalog database. Overall, I added 383 individual artifact records to our searchable database for this collection, and 816 records total. Aside from working with artifacts, I learned to properly archive and catalog all the important paperwork that gives any artifact its context, and therefore, its research value.
Secondarily, I took up a side project that focused on my interest in Native American pottery. Alfred W. Bowers collected a set of unique potsherds from Mercer County, North Dakota, in the 1930s, but they just made it back to their state of origin early this year. These sherds caught my attention right away, as they were different from the typical jar-like vessels we see in the northern plains. These sherds appear to form some sort of platter or very shallow bowl. I hope to continue working with this piece in the future, as well as with the wonderful folks I have connected with while conducting this research.
Archaeology collections intern Sylvia Sandstrom with unique ceramic plate collected by Alfred Bowers.
Process of discovering loose sherds and refitting them to reproduce the original vessel shape.
Archaeology collections interns Sylvia Sandstrom (left) and Kaelyn Olson (right) during their first weeks at work, size grading artifacts from On-A-Slant Village.
This summer I was lucky enough to be chosen as temporary staff for the State Historical Society of North Dakota. My official title for the summer was reading room assistant; this includes greeting guests as they enter the State Archives and assisting them in finding the resources they need to complete their research.
Zachary greets patrons entering the reading room.
You never know what the next person coming through our doors is going to want to find, or why. I have heard many interesting stories and find it fascinating the long distances people will travel to acquire what they are after. I have worked with patrons from all over the United States and even Canada. I look at each patron’s research like a puzzle, and have to find the missing pieces to help them complete it.
As archivists it is not only our job to find resources for our patrons but to archive and keep track of North Dakota history. My project for the summer has been to document Morton County probates in an Excel document. The end goal is to make this information readily available for the public to use in research. While working on the probates it has been interesting seeing all the foreign names of immigrants, and the cursive from back then looks like a whole different language. I am hoping this project will one day help complete another puzzle piece in a patron’s research.
Working on entering Morton County probates into Archives for patrons’ use.
The more I have learned about the Archives’ vast amount of resources, the more I have taken advantage of using them myself. I have used resources such as ancestry library and our county history books to begin piecing together a small genealogy project for my dad’s side of the family. I have also used the microfilm collection to look up old articles on family members and even on myself. I have started a scrapbook for myself on my high school soccer career that documents all my stats and interviews. The microfilm machines are very fun to use and are helpful in finding all types of newspaper clippings at lightning speed.
Looking at microfilm for old newspaper clippings.
After my experience working in the State Archives this summer, I am looking forward to utilizing my newly acquired research skills in my upcoming year of college. My love for history has never been in doubt, but this job has given me a greater appreciation of history and the wonderful people that archive and keep it safe.
The stacks in the Archives were by far the sweetest thing to use.
We’re starting a project, called Hands-on History, to make history more immersive and multisensory at our staffed state historic sites. We want to give visitors more opportunities to learn by doing historically accurate activities, like trying on unique historic clothing, playing games, or using period technology.
It’s funny, though. Year after year I see articles, books, and conference presenters urging us to offer more interactive learning, but precious little advice about how to do it. I have received a ton of training on how to give tours, research history, write exhibit panels . . . so why is there so little out there about hands-on experiences? This means that over the last decade or so, I’ve had to just try things and see what worked. Here’s a little summary of what I’ve learned:
Soon numerous state historic sites will have stereoscopes, a 19th-century 3-D viewer, with images from the State Archives.
1. Do start with research.
This is where the most interesting and historically accurate ideas come from.
2. Do make your objects as close to original as possible.
You want the closest replica of the historic object you can get, within the limits of durability, repairability, or replaceability.
3. Do be excited.
If you’re offering an experience you’re excited about, your visitors will be, too.
4. Do connect your object to an important idea.
Ideally the experience helps people understand the significance of your historic site. Since the visitor should have new insights from the experience, we can ask thought-provoking questions. (Was it possible to write with your left hand using an inkwell and a quill pen? If you were a schoolteacher at the time, how would you teach your left-handed students how to write?)
It must be said, though, that sometimes it’s okay to just offer a fun, historically-accurate experience that makes people feel more at home at your site.
5. Don’t think of hands-on history as an add-on to your “more important work” of conversing about history.
This attitude often causes us to treat visitors who may seem less interested, such as children, as if they are less important than the visitor who is already engaged and asking lots of questions. We have to serve the needs of all our visitors.
Science toys are nothing new. In the 19th century, a zoetrope helped kids learn about optics and moving images.
6. Don’t just give visitors something to touch.
Maybe you’ve observed this strange tendency, but the minute you give people permission to touch something at a historic site, their desire to touch it goes way down. The real fun starts with doing something. And not just anything. Which leads me to . . .
7. Don’t give your visitors historic work to do.
If it wasn’t fun in the past, it isn’t fun now.
It may seem like a cheesy photo op, but clothing illustrates a lot about cultural values, social roles, and the work different people had to do.
8. Don’t make assumptions about who will or won’t try an experience.
I googled “why I hate museums” once, just to see what I might learn. One reason came up in multiple articles and really surprised me: people hate it when all the fun experiences are just for kids.
9. Don’t waste too much effort on experiences you can only offer at special events.
You can provide far more experiences — ones that require lots of set-up and clean-up, or a guest expert, etc. — if you offer them as special events. And that’s not necessarily a bad thing. But you’ll reach far more people if you develop experiences that visitors can try every day.
In the Attic Playroom at the Former Governors’ Mansion State Historic Site, kids can play with toys typical of the years 1901–1960, the same time period the room was used by several governors’ children.
10. Don’t always expect your visitors to initiate the experience.
There’s so much confusion these days about what you can and can’t touch and do in any given historic site or museum. Visitors may need some active encouragement to try out new activities.
11. Do help visitors succeed when trying a new skill.
Make sure you know how to accomplish the task yourself, and look for opportunities to improve the experience so visitors succeed in their attempts to try it.
Kids used old steel wagon tires and later wooden or cane hoops for a wide variety of games called hoop trundling. These hoops eventually evolved into the hula hoop.
12. Do understand that there can be risks.
I’ve actually seen more injuries, such as heat exhaustion and passing out, on tours than during hands-on history experiences. Still we have to design these experiences to be reasonably safe and sometimes guide visitors to perform activities a certain way.
13. Do be appropriate.
It would not be culturally appropriate for visitors to try experiences that one must earn the right to perform in the original culture or context. We won’t be offering visitors the chance to try on warbonnets or medals of honor. Likewise, it’s disrespectful and wrong to try to replicate traumatic experiences. And yet . . .
14. Don’t pass over important cultures or communities.
It takes time, effort, and engagement to learn how to represent a group fairly, accurately, and appropriately, but it’s also essential to telling a balanced story.
Sophia, like countless young girls stretching back centuries in North Dakota, learned how to lace up a tipi with wooden pins.
There are so many great reasons to do hands-on history. It makes history more enjoyable. It’s more accessible to children, people with disabilities, people who don’t speak your language, and people who otherwise might not visit historic sites and museums. Visitors learn more by involving multiple senses (taste, feel, smell, sound, sight, texture, temperature, etc.). They remember more, too. They’re more likely to take pictures of their awesome experience and share them with their friends. It gives them a reason to visit in person rather than only learn online.
I’m excited to watch this area grow, especially right here in North Dakota. Some of our Hands-on History experiences are already available at staffed state historic sites around North Dakota, and we will be adding more and more as time goes by. We hope you come try them out!
