In 2023, Little Central America, 1984: A Sanctuary Then and Now by Elia Arce and Rubén Martínez premiered in Washington, DC. The play illuminates a historical moment known as the Sanctuary Movement, whereby religious institutions, nonprofit organizations, activists, and everyday people sought to create a safe place for Central Americans fleeing state-sponsored and state-condoned violence. The play was a community-based production, relying on local Latinxs—namely, Central Americans—and African Americans to bring it to life. Little Central America demonstrated how community-based theatre could (re)create sanctuary, challenge racial ideologies about Central Americans and Latinxs, and value diverse Central American lives on and off stage. Drawing on my experiences as a field producer, I examine how community-based theatre is a useful tool for Central American and Latinx communities. Ultimately, I argue that community-based theatre is necessary for enacting, processing, and understanding Central Americans’ converging and diverging pasts, presents, and futures.

Here, we describe the creation of a new program, Public and Applied Liberal Arts, at a regional public university in the Midwest. We discuss the values of transdisciplinary research and teaching for the public good, and how we put together a willing group of faculty from across the university to create a new kind of academic program that moves the humanities into our communities and beyond.

This is a reflection on the experience of carrying out an Arts and Humanities Research Council (AHRC)-funded public humanities project during the pandemic, focusing on one pathway to impact – a collaboration with Seven Stories, The National Centre for Children’s Books – as a case study. I want to explore how we adapted these programmes in the light of global and personal circumstances and embraced digital media in unexpected ways. Looking back on what we accomplished, I now believe that, despite considerable challenges, we ended up with outcomes that were even richer and more rewarding precisely because of the challenges we faced and the unexpected paths that the project took us down. The second voice in this article is that of Charlotte Lancaster. Through her role as a Postdoctoral Impact Fellow at Bath Spa University, she worked to evidence the wider public impact of the “Into the Forest” project retrospectively. Here, she evaluates the impact of the project with Seven Stories and offers a coalescent voice to the argument underlining this article: that we need more realistic and flexible approaches to research planning, funding, and evaluation.

What do students of the humanities know, and how do they come to know it? What can they do with that knowledge and skill? Students struggle to answer such questions because they cannot name what they know or can do in the “real” world. Exploring the teaching of the humanities as a form of public practice, this piece focuses on how knowledge is created and transferred in the humanities as part of an initiative called The Being Human Project. This project helps students “name” what they are learning through a set of humanities threshold concepts called SEAM: Storytelling, Empathy, Ambiguity, and Memory. Defining knowledge transfer in terms of recognition, recurrence, and application, students learn to use SEAM as a recombinant palette of problem-solving tools in the public sphere. If we imagine the humanities as a figurative sky filled with stars, the question is how best to prepare our students to navigate that vaunted space as the humanities “constellate” with public problems and practices. How can we help students recognize the value and instrumentality of what they are learning when such knowledge appears more like far-flung points of light than an array of constellations they might steer by?

This article addresses the potentials and shortcomings of prominent current attempts to articulate platforms for public literary humanities. While the pressing polycrises of the twenty-first century call for a resurgence of committed literature—and, accordingly, a public-facing critical practice and ethics—a scenario for public literary humanities still remains to be scripted. We argue that the vagueness of the term “literary value” is one crucial obstacle in this context. It weakens the opposition to literature’s commercialisation and in fact tends to lead to an unproductive reiteration of traditional, canon-bound conceptions of what “good” literature is. We perceive a similarly weak definition of “value” in the public humanities at large, but find in Judith Butler’s encouragement to trust in extra-academic publics a promising perspective that we deem applicable to a budding public literary humanities as well. Drawing on historical (Bertolt Brecht) and current (Vinod Kumar Shukla) examples, we are able to show that such a literary and critical practice can only be conceived when the established notion of literature as private and solipsistic is overcome.

In the spring of 2024, I taught an Introduction to Public Humanities course at Yale University, with the support of a teaching fellow. My primary aim was to expand student understanding of how the humanities could be practiced beyond the walls of the university for a wider public. However, to accomplish this goal, we first needed to situate the more abstract concepts of the “public” and the “humanities” historically and conceptually. This stimulated us to divide the course into three parts. The first, The Humanities and Publics in Context, focused on the history of the humanities within the broader American discourse. The second part, Humanities in Public Life, brought guest speakers from various areas of the program’s concentrations: Place and Space, History and the Public, Museums and Collections, Public Writing, Documentary Studies, Arts Research, and Digital Humanities. Finally, the third part, Public Humanities: Making It as We Do It, provided students the opportunity to engage directly with the public humanities through hands-on projects, allowing them to put their learning into action. This paper captures the lessons we learned, the challenges we encountered, and the work we created throughout the course. My hope in sharing this process is that it can serve as a useful resource for others looking to explore or develop their own public humanities projects.

This essay uses the history of Cossitt Library—from its founding in 1893 to its renovation and reopening in 2023—to explore how the Southern public library has faced, and continues to face, unique opportunities and challenges for public humanities projects. As a scholar-in-residence at Cossitt from 2020 to 2022, I worked alongside the branch manager, staff librarians, community outreach specialists, local arts organizations, and special collections managers to document the history of Cossitt’s role in the city’s civic life and to create policies and programming that encouraged many different constituencies to see the space as their own. It offers an example of where the qualitative research skills of a humanities scholar can impact both large-scale and targeted public humanities projects.

This brief piece addresses the dispute sparked by Donald Trump’s executive order denying birthright citizenship to two classes of people traditionally included under the citizenship clause of the Fourteenth Amendment. A primary goal is to provide a historical perspective on arguments made by both sides that are too frequently neglected in media coverage of the dispute. The piece does not predict how SCOTUS might rule, but it does make a case for the nation’s responsibility to children who have violated no law. Through textual and historical analysis, it also refutes two law professors who propose an originalist interpretation of the Fourteenth Amendment that supports Trump’s effort to deny birthright citizenship to children born to undocumented immigrants. Drawing on works of literature, this article hopes to clarify the consequences of the complicated legal issues involved, including the bigoted history of previous efforts to restrict birthright citizenship.

This article connects infrastructural violence to environmental injustice in the South Durban Basin, the industrial hub of the Durban metropolis in South Africa, where escalating ecological difficulties have negatively impacted living standards. The combination of the racially insensitive apartheid regime in South Africa and the harmful effects of toxicity requires a decolonial repair perspective founded on egalitarian dialogue and the inclusion of affected viewpoints and participation. In advocating for this repair framework, this article calls for horizontal discussions that thoroughly examine these issues, which can subsequently facilitate equitable environmental policies, regulations, and laws.

This article argues that, as they are currently designed, UN climate talks fail to address the environmental catastrophe they aim to address. While dialogue is the primary means through which the world’s population can get together, discuss the scope and nature of the problem, and put appropriate measures into action, these talks are, year after year, employed as a way to create the illusion that democratic decision-making occurs. As a result, these kinds of events can only succeed in entrenching positions, exacerbating the impasse at which we currently find ourselves. This, in turn, solidifies the notion that we indeed need to engage in a dialogue about climate change, thus perpetuating a never-ending cycle that protects, under the veneer of planetary engagement, the continuation of capitalist business as usual. The article, therefore, proposes that a dialogic path to finding a solution to the climate catastrophe can only be successful if climate talks are rethought, placing at the helm voices from the most affected populations in the Global South. Otherwise, these talks will continue to fail in making a significant change that ensures the possibility of an environmentally just and viable future for the planet.

South Dakota, home to nine federally and state-recognized tribes, bears witness to a rich Native American history that predates colonialism. Yet, the representation of Native Americans in institutional archives remains sparse, often curated through the lens of non-Native creators. Addressing this gap involved a collaborative effort among Augustana University, Native American students from a federally funded tribal boarding school, and a regional cultural institution to facilitate the reclamation of archival narratives and the re-presentation of Native American histories through an innovative public humanities initiative. This project aimed to re-present archival material through creative interventions by young Native American artists, adhering to the First Nations principles of ownership, control, access, and possession. By transforming existing archival material into new artworks, the project fostered a deeper understanding of Native American history and its contemporary implications. Public exhibitions of these reinterpretations facilitated engagement with historical traumas and challenged normative perceptions of Native American experiences. The interdisciplinary approach highlighted the importance of Native American agency in curatorial processes, resulting in reflective public exhibitions. This project exemplifies how public humanities research can bridge historical gaps, support cultural recognition, and facilitate the reclamation of institutionalized narratives.

There is a tendency in academia to expect humanities graduates to have an innate understanding of the significance of their educational training, even in the midst of a diminishing regard for their chosen subjects within educational policy and public discourse. This pedagogical reflection explores the experience of two tutors and eight students on a final-year module called “The Public Role of the Humanities.” Grounded in the pedagogical principle that the Liberal Arts offers interdisciplinary education for engaged citizenship, its remit is to explore the ways in which arts and humanities perspectives play a vital role in all walks of public life. The module is designed to help students understand how they can bring their educational training to bear not just on future careers but also on the kinds of paid jobs and volunteering roles in which they are already engaged. The students each create a podcast reflecting on this topic. In this article, we discuss the shared experience of thinking about the public humanities, including situations where issues and disagreements arose. We draw conclusions about how to move beyond defensive discourse about value and instead integrate interdisciplinary insights and approaches with daily living and working practices.

This article presents a short selective history of contemporary collecting at the Smithsonian Institution. I explain what contemporary collecting is and show how contemporary collecting in the 1960s and 1970s produced histories of political reform movements and participatory democracy. I argue that many material records would not exist today if it had not been for a small group of committed curators who pioneered this practice in the absence of policy guardrails—and often despite a lack of institutional support. I present a brief overview of contemporary collecting methods and outcomes to argue that it is more important than ever for us to collect evidence of diverse political activity in our current moment—a moment in which cultural institutions, including the Smithsonian, are being attacked by executive orders issued by President Donald Trump, despite their long-standing reputation for maintaining truth and public trust in times of political change and contestation. The article concludes by suggesting how people can approach this work today.

What would an approach to public humanities that centers the principles of LANDBACK, a movement that locates liberation for Indigenous people in “putting Indigenous Lands back into Indigenous hands,” look like? In this conversation with Megan Red Shirt-Shaw, Meredith McCoy, and Elizabeth Rule—facilitated by Jennifer Guiliano and Roopika Risam—the team behind the Landback Universities project explores the possibilities and urgency of public humanities informed by Indigenous ways of knowing, cultural protocols, and the responsibility of universities to undertake repair work to be in right relation with Indigenous communities they have dispossessed. Topics addressed in this conversation include the limits of “decolonization” as a university discourse and buzzword that, at best, results in land acknowledgments—brief statements about the Native nations whose lands universities occupy, typically without any commitment to address the university’s ongoing participation in dispossession; the tensions between diversity, equity, and inclusion and “decolonization,” which undercut very real, decolonial calls for land restoration and the remaking of systems of power on campuses; the ethics of collaborations on humanities-related initiatives with Indigenous communities; and negotiating right-wing politics that curtail opportunities for this work.

Indigenous Studies seeks to affirm the distinct worth of “Indigenous Knowledge” and to question, as colonial, the privileging of Western Knowledge. How should Bruce Pascoe’s Dark Emu be taught, after it has been persuasively criticised by Peter Sutton and Keryn Walshe in Farmers or Hunter-Gatherers? The Dark Emu Debate. Australia’s “culture wars” have encouraged readings that sharply distinguish the two books’ theses, and this paper attempts to soften that polarity. After noting a point of convergence between Dark Emu and Farmers or Hunter-Gatherers? I outline two ways to think about knowledge that may help answer the question: How should Dark Emu be taught? Paul A. Cohen distinguishes among three ways that we can know the past: as event, as experience, and as myth. Martin Nakata considers the relationship between Indigenous experience and university-authorised critique. This paper seeks to draw out what is useful in each author: an acceptance that our thinking about the past is both mythical and critical. We can teach Dark Emu as “myth” without equating myth with error.

Some humanities fields, understanding the growing importance and relevance of public work, have been relatively quick to incorporate teaching public work into their courses. But the arts have been slow to catch up, for example, the relatively recent fields of public musicology and public music theory. However, teaching students how to do public work and why it is important is often removed in favor of course coverage. The reality is that teaching students to do public-facing work can enhance a course’s coverage while also teaching valuable workforce skills, in or out of the arts. At a time when applied careers in the performing and visual arts are dwindling, it is crucial to include the pedagogy of public-facing work in one’s arts classroom to show students what careers are possible using their disciplinary knowledge. In this manifesto, I discuss the importance of teaching public arts methods with a view from my own field, public musicology. As a case study, I will show how teaching public musicology can be both incorporated into stand-alone courses and built into programs, as I have done in the only public musicology undergraduate program in the United States.

In early January 2025, wildfires swept through several regions of Los Angeles, California. The fires’ proximity to Hollywood, the epicentre of Western visual and cinematic production, led to the creation and wide circulation of real and artificially generated images on social media. In this article, I argue two things: first, these images capture human concerns in the age of polycrisis; and second, by interpreting these images as symptoms of an attempt to articulate a sense of reality in which human imagination has itself become under threat, public humanists of the present and future need to be attuned to their role as mediators of diverse publics and their way of making sense under these crisis conditions. This article thus uses selected imagery of Los Angeles’s wildfires circulating on social media to excavate how ways of meaning-making in a digital age (memeification, use of generative artificial intelligence) reflect real public concerns about polycrisis, rendering these images productive beyond their satirical or misinforming values.

Since 2017, St. Catherine University has partnered with the Mapping Prejudice Project to build an interdisciplinary and community-engaged public humanities project that can serve as a model for other universities. The project, titled Welcoming the Dear Neighbor?, engages students, faculty, and staff across departments who work in collaboration with community partners to advance knowledge of systemic racism and its impact both historically and in present-day disparities. The result is mutually beneficial relationships that integrate high-impact practices for student success and retention and yield tangible resources for community groups in our city and surrounding suburbs. To date, more than 1,400 students have participated in the project. We report qualitative and quantitative evidence showing that the project enhanced students’ sense of place and enriched their learning. We describe challenges and lessons learned that will be of particular interest to universities interested in projects that undertake interdisciplinary, racial justice-focused public humanities work.