Stimulating Communities Via Their Histories

Lisa A. Miles c 2010, Rev. ‘25

Perhaps the biggest question historians face in the early decades of our

21st century is how to make history relevant to those that might not

normally think about it. Certainly history affects us all-- but how do you get

that point across to a society more interested in the latest in technological

advancements than historical inquiry? The answer is to get people where

they live-- using a historical context to spur civic engagement.

The roots that people put down in the structures where they live, the

land they lay claim on and the neighborhoods where they work and play,

are fraught with historical significance, yet any engagement is untapped,

especially in relation to a core common concern-- making oneʼs

neighborhood better. A communityʼs past should be learned, understood, made

relevant!

Community identity can start with a historical construct made vibrant and real.

A delving into the significant sense of “place” and “home” that each of us subliminally

attaches to where we live, potentially spurred on by the ‘educating historian’ . . . be

that museum staffer, elementary teacher, author or otherwise. Yes, I believe history

can be made ironically forward-thinking, not to mention fascinating for those that

may not otherwise feel so !

Exploring the components that underscore the shaping of neighborhoods, as

well as larger American metropolitan areas, must be a strategy employed to merge

history with a relevant modern day. Cultivating historical pride particularly in under-

served neighborhoods can help turn around the urban decay that eats away at the core

of so many cities. For any community, instilling sense of origin definitely inspires

real current-day civic involvement, and shapes its future history.

For those neighborhoods long overdue attention from civic leaders, it is in fact

the actions of the ‘educating historian’ that might make the most impact on

individual residents short and long-term, if done engagingly. Community history

workshops for youth and discussions for adults— on specific neighborhood sites that

may harbor physical structure or memento, or close by land designations of

significant historical events. And a push for creative re-development of community

properties, while maintaining their historical integrity, should be advanced— a civic-

minded marriage of the municipal and artistic, based on the alluring past. Creative

thinkers, all, should be involved in advancing the goal of making history relevant to

current-day necessity and desire.

Conceiving new hope for buildings with the appropriate nod to the old (both in

the remnant or by nearby structures) could be had with the help of university students,

community leaders and many others inspired by the ghosts of the neighborhood past.

Indeed community action should shout out the modern-day relevance of a people, a

structure or a placeʼs historical value.

Creative challenges should be put forth, as well, to citizens young and old—

those becoming engaged by stimulating discussions (not stodgy lectures), workshops

and field trips in their neighborhoods. This involves open dialoguing about new ways

to save pre-1900 houses and land tracts of historical worth, capture the energy of area

pioneers in science and the humanities, and resurrecting the sacred Native spirit still

over our lands.

A newly historical-empowered community will ‘engage back’ the experts

on civic development and even re-energize the historian formerly lost in archives

alone— all via bridging history to present. Thus, reaching people in the “roots of

their home” is a task that must begin. Great old stories make even greater rallying

cries for renewal.

Lisa is the author of best-selling “Resurrecting Allegheny City: The Land, Structures & People of Pittsburgh’s North Side” (2007). For over 30 years she taught youth, counseled adults, and had numerous speaking engagements all with creative cross-disciplinary approach. Her first book is "This Fantastic Struggle: The Life & Art of Esther Phillips” (2002). She is known as well for her original music on electric violin & mandolin, collaborating and performing with international artists.

More Info: www.lisamilesviolin.com

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