NABO hopes to encourage the collection of more Basque oral histories to supplement the existing Oroitzapenak ("Memories") collections at the Center for Basque Studies and Basque Museum & Cultural Center to tell our Basque story. 

THREE-FOLD GOALS. NABO's promotion of an oral history project is for three reasons:  the first is the value of collecting people's stories before they are gone.  This has a value all to itself, and perhaps more-so now since we are losing some historical records. Earlier historians mined letters, journals and diaries to look into the world of the others, but with the increase of electronic email that is usually deleted, we are losing that avenue. We want to support existing efforts underway at the Center for Basque Studies and the Basque Museum & Cultural Center to tell our Basque story.

The second reason is that we are hoping to get younger Basques to develop their own family history project.  Family has always been a central element of Basque culture specifically, and generally family is the foundation of society.  Arguably our family more than anything else, makes us who we are.  This project is a way to better get in touch with this part of ourselves and to learn about our ancestors whose story is our story as well.

The third reason goes to our objective of following up on our four-year plan of ZATOZ: Come along  One of the challenges as we move from generation to generation is retaining an affinity to "Basqueness."  Specifically, how do we get younger Basques to connect?  With youth these days, it isn't easy because of the plethora of choices they have.  The hope is that by connecting with their own family via this Basque oral history project, they will find something that they will want to retain and thus choose to be Basque.

For each family story submission, you will qualify for one raffle ticket.  Then on December 1, 2008 there will be a drawing for a round-trip ticket to the Basque Country! Requirements:  each family story will need to embrace several people in your family, particularly your older relatives. NABO's 4 Year Plan

METHODOLOGY.  The tentative plan is to build upon the existing format utilized by the current projects at the CBS and the BMCC.   

Center for Basque Studies

Basque Museum & Cultural Ctr

Sponsors of the raffle prize

AN ORAL HISTORY PRIMER
Online Source: http://library.ucsc.edu/library/reg-hist/ohprimer.html

Working Definition of Oral History Memoirs

Producing oral history documents is a systematic attempt to enlist significant people with first-hand knowledge of special historical developments and experiences into tape-recording their memoirs while they are still able to do so effectively, that is, with sufficient powers of recall. Oral history is spoken history, subject to all the biases and vagaries inherent in human recall; yet it is not substantially different from other historical sources (diaries, correspondence, official documents, newspapers, photographs, etc.) which are distorted, partial, and viewed through the screen of contemporary experience. Oral history data must be subjected to the same tests of evidence as other sources, examined along with other contemporary sources for corroboration and authentication. The primary value of oral history testimony is its usefulness in social history, for reconstructing the fabric of daily life since the turn-of-the-century, and for documenting the mundane details of family and community life for which written evidence is often scarce. The following sections of this Oral History Primer focus on the interviewing methods and procedures necessary for producing oral history documents of value for future generations. Adhering to these guidelines will assure the beginning interviewer at least some measure of success and a sense of confidence in carrying out what is a complicated collaboration, an oral history interview. Technique provides a kind of scaffolding; as one gains experience in the art of listening and in trusting one's judgement during an interview, improvisation and spontaneity can emerge, and the mechanical details will more and more take care of themselves if they are once mastered. You will develop your own style of interviewing, of being of service to your narrator in this endeavor to recapture memories of the past.

Tape-Recording Equipment

Cassette tape-recorders with a recording meter are more than adequate--reel-to-reel machines need not be used. High-quality 60-minute cassettes, and the use of a condensor microphone, attached to the collar or lapel of the interviewee assure audible recordings. The meter is helpful to monitor the recording, to be certain that the machine is working, especially if one is depending on batteries rather than plugging the machine into a wall socket. Test out your equipment just prior to the interview session. Take along extra cassettes, extension cords, or fresh batteries. Label the tapes in advance with the narrator's name, date, address, and the interviewer's name. Your own confidence in the equipment and the ease with which you go about setting it up in the presence of the interviewee all convey a sense of comfortableness and matter-of-factness which diminish stage-fright and allay anxiety.

Guidelines for Conducting Oral History Interviews

Preliminary Contact

In making the initial contact with a prospective interviewee be certain to make a clear presentation of the purpose and nature of the interview. One need not give lengthy explanations but should inform the interviewee of the time investment involved, of the general areas to be covered, how the interview will be conducted and what will be done with the tape/transcript, how it will be used and for what purposes. Being explicit and direct with the prospective interviewee inspires confidence in the oral history endeavor.

Pre-Interview Preparation

The interviewer should have a sound general background in the subject or topics to be explored. If the interview is to focus, for example, on the career of a retired attorney, fireman, teacher, or physician, during the 1930's, and the changes in those fields since that period, the interviewer should do enough background reading and research to have some notion of the major trends and highlights in each field. Without any background the interviewer cannot ask the types of questions that will elicit the most pertinent information possessed by the interviewee. Sufficient preparation spells the difference between a valuable and a poor interview. Consult written histories, journal articles, autobiographies, diaries, scrapbooks, newspapers, trade journals, family histories, relatives and friends during this preparatory phase of the work.

The Question Outline

Once you have determined the focus of your interview (whether it is autobiographical recollections of family history, or confined to a specific topic (municipal politics, the history of a real estate firm, the work experience of an individual, etc.) you can begin to sketch out a question outline, comprised of the biographical and subject information you wish to formulate into questions. Under each broad topical area you will begin to think up more and more detailed questions. This working outline will give you confidence during the interview and will keep the interview moving in the direction you want to go. The outline is not, however, an inflexible blueprint; new topics introduced by the interviewee should be incorporated in depth if they are of significance. You can use the outline to inform the interviewee in advance of what general areas you want to cover. Often a copy of the outline given a week or so in advance of the actual interview will stimulate an interviewee's memories. But indicate that any other related topics which s/he can think of will be useful for the interview.

Telephone contact

Set-up arrangements should include a location in a quiet place where there won't be interruptions. The interviewee's home-- familiar territory--usually enhances the session. Arrange a date and time and telephone the day before to remind the person of the session.

The Interview Session

Allow two hours for each session and no more than 90 minutes for the actual taped portion of the session.

Laundry List

Remember to take along: paper and pens; extra cassette tapes; batteries; an extension cord; question outline and necessary research materials.

Breaking the Ice

When you arrive and are setting up recording equipment, chat informally to establish rapport, but move as quickly as possible to the interview itself without beginning abruptly. Breaking the ice is an essential phase of an interview.

Basic Interviewing Techniques

1.Ask open-ended questions which can be developed at length by the interviewee. Remember the ideal oral history interview is a considerately directed monologue and not a conversation. The interviewer's unobtrusiveness and attention are essential.

2.Start the session with easy and enjoyable kinds of questions and let the interviewee run with them. In this way you will establish a pattern of in-depth responses and recollections. The interviewee is then able to structure his/her narration of an experience in ways that indicate those factors that they feel are most significant or important. The person also overcomes the natural, initial anxiety once s/he has spoken at length about something s/he knows well. Often the interviewee provides highly significant information on subjects you might never have thought of pursuing. By permitting the person to introduce a topic, you are less vulnerable to charges of having asked a "leading question," or of trapping an interviewee into talking about sensitive matters. Sample question. Could you tell me something about your adolescent years? About how you started in this business? Instead of interrupting in the beginning of a general question of this kind, jot down questions on your note pad and listen attentively to the interviewee. When a natural pause is reached you may then say, "Your recollections have brought a great number of subjects/topics to my mind that I would like to know more about . . ." Never overwhelm with multiple questions. Take your time and never convey hurry or impatience.

3. Learn to listen very carefully. You want the person to develop in as much detail as possible the area of inquiry. Convey your interest by establishing eye contact when appropriate. Don't appear to know everything but do be very well-informed. Indicate that you have read seriously and informed yourself about the subject but that the interviewee obviously has specialized, first-hand information which you value.

4.Miscellaneous Interviewing Suggestions Ask clear, brief open-ended questions requiring detailed answers, particularly at the beginning of the interview so that the narrator will be encouraged to relax and talk freely. Ask provocative questions which further your inquiry, but do not assume an adversary role. The tone of voice and the way in which a question is phrased convey your intentions. If asking about mistakes or failures in a person's life or career (if pertinent to the inquiry) broach triumphs and successes first. When narrator goes off on a tangent steer him/her back on course gently and firmly.Refrain from making value judgements either implicitly within questions or explicitly. Deal with contradictions in testimony itself or in reference to other sources in a matter-of-fact way, such as: "I have read in such-and-such or someone else told me just the opposite of what you have just told me. Could you help me to resolve this contradiction, to explain this discrepancy?" Ask so-called naive questions; they convey to the interviewee a sort of subtext, that you are ignorant, but not stupid, and want to know details. Remember: people love to tell about what they know and what they do; given a comfortable, relaxed interpersonal environment you can be of service in helping them to recapture their own memories, their original perceptions of events and experiences. The interaction which is the interview is a unique opportunity not to rehash old memories but to call up the past in fresh, actual recollections of the events themselves.

Ethical and Legal Considerations

Another important consideration before the actual interview, is obtaining permission to use the information in the interview. By means of a simple release form, the interviewer insures both the integrity and continuity of an oral history project and safeguards each interviewee's rights. Where a transcript is available, it is usual practice for the interviewee to read through the entire manuscript and indicate whether any portions need to be sealed (kept confidential) for a stated length of time. When an indexed tape-recording will be made available to students, library patrons, or scholars, it is best to have the interviewee sign a release form at the conclusion of the interview session(s). In this latter situation--where a written manuscript is not available for perusal--it is the responsibility of the interviewer to pay heed to possible libelous statements or difficult statements and bring them to the narrator's attention; portions of the interview tape can be erased if libelous, or the entire tape sealed if information is sensitive.

Most interviews do not contain sensitive personal information and in most cases the signing of a release form is a simple task. A sample text for a release form should include the following explicit directions:

I hereby give and grant to [ ] my tape-recorded memoir as a donation for such scholarly and educational purposes as [ ] shall determine. It is expressly understood that the full literary rights of this memoir shall pass to [ ]and that no rights whatsoever are to vest in my heirs now or at my death.

Signature of Interviewee

Address of Interviewee

Signature of Interviewer

Address of Interviewer

Date of Agreement

Listing of subjects covered in taped memoir (can be index listing) It is common practice to give the interviewee a copy of his/her tape memoir or a copy of the typeset manuscript as a gesture in exchange for their significant investment of time and work in the oral history collaboration. Memorabilia Inquire about diaries, letters, photographs or other historical materials which the interviewee might wish to share with you. One must exercise discrimination in collecting such materials, but often photographs can be copied, or if the materials have real value for archives or institutional collections, one can go to librarians for advice on acquiring them. Often they can considerably illuminate an oral history memoir.
 

Note-taking

Post-Interview Activities

Transcribing and/or Indexing Oral History Tapes

Due to the costly and time-consuming process of verbatim transcription of tapes, in which one hour of tape-recorded interview equals approximately 50 pages of typescript, and 8-12 hours of labor, most volunteer projects have chosen to provide detailed indexes for each tape. A topical index for each tape, and an ongoing general index for a collection of taped memoirs, is an acceptable alternative for making oral history collections usable for researchers. By using the digital counter found on most tape recorders the indexer can indicate with approximate accuracy the location on the tape of a certain portion of discussion on each topic covered in the interview. so, if an interviewee discusses her childhood, career as a photographer, family history, service in World War II, and work for the U.S. government, each period and topic in the session can be noted and retrieved easily with such an indexing system.
 

Establishing an Oral History Archives/Depository for Taped Memoirs

Much thinking needs to go into the establishment of an archival solution to the increasing number of oral history memoirs produced in this county. Not only are oral history memoirs useful for scholarly researchers, but they also serve as a unique local resource for educational purposes in our public schools; the study of important 20th century developments and events--the Great Depression, World War II, the environmental movement, the women's movement etc. --can be illuminated by the use of oral history documents which ground these large scale events in the historical reality at a local level. Textbook history is too often a pre-digested, synthetic version of the past, devoid of humanity and flesh-and-blood reality. Students in this community could be significantly enriched if they had a high-quality collection of oral history memoirs from which to learn about both local history and the influence of national trends on their community.