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1987 Newsletter Archive
ORAL HISTORY AS PART OF A CORPORATE ARCHIVES PROGRAM
by Claudette John, CIGNA Corporation
In the Spring issue of the Business Archives Newsletter "Dialogue" addressed the
importance of oral history as a tool for documenting 20th century history. I
discussed the advantages of making the program part of the ArchiveÂs
responsibility, and the necessity of confronting legal concerns in the planning
stages. This column presents two questions, followed by my own admittedly
subjective answers, for your consideration and discussion.
Is it necessary to transcribe all interviews? I know of one major oral history
program÷not corporate÷which transcribes only a small percentage of its
interviews. To date we have transcribed all oral histories, but we are still
working on the priority interviews. When those are completed, we may very well
reassess that policy. Since I consider the tape the primary document in oral
history, transcription is really a matter of choice. My major concern is for
preservation. Paper is definitely a more stable medium than audiotape, and since
we use the oral histories mainly as sources of information and perspective on
business, the transcripts are the more convenient form. I can think of numerous
instances where you might not transcribe, linguistic studies, for example, or
folklore. Are there legal issues or legitimate practical concerns that make it
advisable to transcribe interviews? Is it advisable to transcribe what might be
quoted in a publication? I would certainly evaluate those possibilities before
changing our current procedure.
Should I edit the transcript? Yes, if you want the interviewee to review and
approve it. And I believe that every interviewee should have an opportunity to
review his transcript for accuracy. Transcribers do make mistakes. The tape may
not be clear, or the transcriber may simply misunderstand what is said. There
may be an obvious error in fact÷an incorrect name, date or place. Innocent,
straight÷forward errors should be corrected in the transcript. Clarifications
and additional information may be included as footnotes.
Acceptable spoken and written English differ greatly÷ sometimes, I think, to the
point of being almost two different languages. It is often necessary to do some
judicious editing so a person who is articulate on tape "sounds" that way in
print. Of far greater importance is editing for clarity. The speakerÂs voice
carries the listener through long, complicated, often convoluted sentences where
inflection, emphasis and repetition flag the important elements of the narrative
and make it easy to follow. Transcribe that verbatim, punctuate it liberally
with "uhmms" and "ahhs," season it with occasional mid÷stream changes in tense
or number, and you have a maze that requires substantial effort for the reader
to master. But on the tape it all sounds fine, informal and like normal
conversation÷because it is.
Having said that I edit transcripts when it is necessary to do so, I should go
on to say that it must be done very carefully. You donÂt want to lose the unique
characteristics of the intervieweeÂs speech and personality. You can prune
excess verbiage and rearrange phrases so that the order is suitable to written
English, but do retain repetition or unusual syntax for emphasis, clarity and
insight. If sentence fragments and punctuation present problems, as they do in
some transcriptions, you may find an acceptable model in printed dialogue or
good journal interviews. Literary elegance is not a legitimate reason to edit
business oral history transcripts. Clarity is. Edit as much as necessary, but as
little as possible. The tape, after all, is the primary record. And that remains
unchanged.
In the spring newsletter "Dialogue" will continue with part 3 of "Oral History
As Part of A Corporate Archives Program." The topic will be
interviewing÷techniques, questions, etc. If you have questions or comments on
this column or wish to contribute in advance to the discussion of interviewing,
please address the author of this article (Philadelphia, PA 19103), (215)
523÷3293, or the Business Archives Newsletter editor.
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ORAL HISTORY AS PART OF A CORPORATE ARCHIVES PROGRAM
By Claudette John, CIGNA Corporation
This year both of the "Dialogue" columns will be devoted to the subject of oral
history as part of a corporate archives program. In this issue I shall discuss
briefly my reasons for changing from skeptic to advocate for corporate oral
history and the need for a formal written agreement between the collecting
institution and the program participants.
What is oral history, and why should a business be interested in supporting an
oral history program? The Oral History Association, in its evaluation
guidelines, recognizes oral history as "a method of gathering and preserving
historical information in spoken form." I find Jim FogertyÂs definition more
appropriate for a corporate program; he writes, "While the data that becomes
oral history is present in the minds of potential narrators, it does not exist
in any organized, collectible form. It must, rather, be created ÷ and not alone,
but through the interaction of an interviewer with the narrator."
Considering the recognized and frequently discussed expense of an oral history
program, the "why" is a bit more complicated. Institutional archivists must be
concerned with developing a collection that reflects as accurately as possible
the life of the corporate entity. And how does one do that in the twentieth
century without employing twentieth-century tools? How many business people keep
diaries or journals today? The answer, for all practical purposes is "none." An
appointment book is about as close as you can hope to get. Even memos to file
summarizing telephone calls, telexes and private meetings are becoming scarce.
And records of conversations that took place on the golf course and in the
company jet, or decisions made "after dinner, smoking a good cigar," are totally
lacking. (Quote is from a 1983 interview with a corporate executive.) Charles
Morrissey notes in his introduction to the recent interdisciplinary anthology,
Oral History, that "Surprisingly, one of the most neglected areas (of oral
history] is among the most crucial: the role of business enterprise in modern
America. Businessmen have been tardy in telling the story of American business
to oral historians; the story of entrepreneurism and the skills it requires has
rarely been voiced on tape."
If, for the sake of argument, we agree that oral history is a necessary tool for
documenting the twentieth÷century corporation, the reasons for making the
program part of the Archives responsibility are apparent. Research materials
are readily available in the Archives. Program needs can be assessed with
relative ease; the archivist is probably all too aware of which parts of the
record are incomplete. If the archives staff plans and directs the program from
the outset, it is far more likely that the interviews will be broadly based, a
true primary resource usable to answer a variety of questions and serve a
variety of needs, some of them quite unforeseeable when the interviews are
taking place. Locating the program with the Archives also guarantees that the
interviews will be properly catalogued, preserved and made available to
researchers by professionals who are aware of the associated legal and ethical
constraints, which are as important to program participants as they are to the
company.
At CIGNA we have used oral history interviews to acquire information that is not
available in any of the more traditional forms, to document decisions and the
perspectives of decision-makers, to fill gaps in administrative history and to
point the way through processing mazes. Significantly, if you want it to, an
interview can also serve as a starting point for acquiring records, many of
which will verify and augment the information discussed in the oral history
session.
Let us continue by accepting as a given that the oral history program has been
approved by management and funded in a more or less adequate fashion. Ideally, I
would retain all program development, research, interviewing, transcribing,
editing and processing as archives functions. Since that is rarely feasible, it
is certainly possible to retain responsibility for all of these functions,
reserving for staff those that staff can do best and contracting the remainder
to an outside service. The archivist, or acting archivist, should always retain
responsibility for program development and administrative control. It is
possible to contract any mix of the remaining program elements to outside
services depending upon the circumstances of funding, corporate philosophy,
legal arrangements and the abilities of staff. So far in CIGNAÂs program, staff
has done the interviews, some of the transcription and all of the editing. That
mix will probably change from time to time, depending on changing circumstances.
One of the knottiest problems that a responsible oral historian faces is the
legal agreement. Where this particular issue is concerned, a corporate archivist
has the distinct advantage of having access to lawyers on staff or on retainer.
Please, recognize the necessity of confronting this issue in the program
development stage. I found Oral History and the Law by John Neuenschwander to be
extremely helpful. After reading JohnÂs pamphlet, I was prepared to seek and
profit from professional advice pertinent to our own special situation.
While it is generally understood that no agreement is necessary when an employee
is interviewed by another employee, I prefer to use a formal written agreement
for all oral histories. Our agreement has been designed as much to protect the
people who have shared their perspectives and opinions with us as it has to
protect CIGNA. For example, it prevents the appropriation of one intervieweeÂs
material by others associated with the project. It guarantees, in legal terms,
our ethical responsibility to honor an intervieweeÂs request to close an oral
history for a specified period.
We ask the interviewee to sign two copies of the agreement when the interview is
over. If there is a series of interviews, one agreement is used for the entire
memoir, and the agreement is signed at the end of the final interview. One copy
is given to the interviewee and the other is brought back to the Archives. The
interviewer signs every agreement even though he usually is an employee.
Finally a word about copyright. Facts and theories in the public domain--
information--cannot be copyrighted, only the particular expression of them
created by the oral history interview. Since considerable resources and effort
have been expended to create and preserve this record, the company reserves to
itself the right to decide on its use. Notice of our claim to copyright is given
to anyone with access to the materials by marking all transcripts and tapes: C
(year), CIGNA Corporation, All rights reserved."
In the fall newsletter "Dialogue" will continue with part 2 of "Oral History as
Part of a Corporate Archives Program." I plan to address topics such as: to
transcribe or not to transcribe; is the tape or the transcript the primary
record? interviewing; editing; preparing finding aids; and, is oral history
really a primary resource? To the final question, I am going to answer a
qualified "Yes." I hope that I may be able to incorporate questions and comments
from YOU as well. Please address: Claudette John, CIGNA Corporation, Archives,
Philadelphia, PA 19103, or the editor of this newsletter.
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ADVERTISING HISTORY AT THE NATIONAL MUSEUM OF AMERICAN HISTORY
by John A. Fleckner, Smithsonian Institution
Advertisements, in all their varied forms, are a significant part of the
permanent collections at the National Museum of American History. Their value to
the Museum derives from their complex inter-relationships with the
three-dimensional objects which constitute the MuseumÂs primary holdings.
At the simplest level ads help to document the dates, prices, uses and other
"facts" which make objects historical rather than merely aesthetic. At a more
sophisticated level, ads carry (and reveal) the "affective" content of physical
objects--the symbolic and emotional values and meanings which we assign to
objects, especially to mass produced consumer goods.
For instance, if you spent the last twenty years off the planet a can of Coke or
Pepsi is simply a twelve ounce container of sugar water, flavoring, and
carbonation. For everyone else the object is associated--not far below the
conscious level--with a wealth of visual and aural imagery. ItÂs "Come Alive,
YouÂre in the Pepsi Generation," "ItÂs the Real Thing," small children and
puppies, and California beach scenes. Pepsi÷Cola company research once claimed
that two÷thirds of all Americans considered themselves in the "Pepsi
Generation."
The National Museum of American History has outstanding collections of
advertisements. The two major ones ÷ acquired more than a decade ago-are the
Warshaw Collection of advertising ephemera and the N. W. Ayer advertising agency
proof sheets. Together they comprise more than 1,000 cubic feet of materials.
The collections are regularly used by scholars, students, exhibits designers,
television producers, and researchers for magazine and book publishers.
Since 1984, the Archives Center, through its Modern Advertising Program, has
been complementing these collections of ads by creating and collecting
documentation on the process of advertising ÷ a process which the ads themselves
skillfully obscure. In a series of projects, focusing on major advertising
campaigns in the post-World War II period, the Museum is conducting interviews,
gathering print and electronic ads, and acquiring a very small quantity of
personal papers.
Already the Program has studied advertisements for Pepsi-Cola, Marlboro
cigarettes, and Alka-Seltzer. The purpose of these projects is to understand the
process of advertising from the perspective of its creators: corporate
executives and ad agency directors, marketing professionals, and "the "The
primary objective is archival: to build a record for future writers, students,
media producers: and others who will study what is surely one of the most
significant aspects of the modern corporate world and of contemporary popular
culture. Each project has been supported, in part, by a grant from the
cooperating corporation.
As a part of a very public institution, the Modern Advertising History Program
also takes an interest in bringing this story to a wider audience. For example,
project staff developed a brief video program and a one-case exhibit with the
"Pepsi Generation" project. Each project has produced a chapter length narrative
history based on interviews and research and these will be published as a book
of case studies in modern advertising.
What is in all this for the cooperating corporations? For Pepsi-Cola it was an
opportunity to create a record of an achievement in which the company takes
great pride but which was almost entirely undocumented, in part because of the
absence of a corporate archival program. It also was an opportunity to recognize
the work of many dedicated individuals.
On the other hand, Miles Laboratories -- makers of Alka-Seltzer ÷ has an
excellent corporate archives program. Working closely with corporate archivist
Don Yates, the MuseumÂs project will help to flesh out Miles documentation of
Alka-SeltzerÂs advertising campaigns. It will build on the written record and on
existing oral histories. As outsiders we can bring the prestige and detachment
of the Smithsonian Institution. As collaborators with Miles we have the support
necessary for access to busy and often cautious business people. Finally, there
is an undeniable presti9e and public exposure value in an association with the
Smithsonian Institution. And, although the Smithsonian Institution carefully
protects the use of its name, this association is a powerful incentive to
corporate support.
Over the past three years the Modern Advertising History Program has worked
closely with corporate sponsors to enrich the record of recent corporate history
and to make substantial contributions to the Smithsonian InstitutionÂs research
resources. We look forward to continuing this productive relationship. Business
archivists wishing further information about this program are invited to write
or call at the Archives Center, Room C34O, NMAH, Smithsonian Institution,
Washington, DC 20560, (202) 357÷3270.
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THE CENTER FOR THE HISTORY OF BUSINESS, TECHNOLOGY. AND SOCIETY
by Elizabeth Gray Kogen, Hagley Museum and Library
The Center for the History of Business, Technology, and Society is an outgrowth
of the Hagley Museum and Library in Wilmington, Delaware, one of the nationÂs
leading centers for the study of business history. Formed in 1986, the Center
seeks to facilitate and improve communication among corporate archivists,
curators, records mangers, businessmen and women, and historians through special
projects, programs and publications. The HagleyÂs rich and varied resources put
the Center in a unique position to serve archivists, records mangers,
historians, and businessmen and women. Several of the CenterÂs activities are
described below.
In the spring of 1986 an informal meeting was held to discuss the need for a
study of and report on the records of business and industry similar to that of
the Joint Committee on the Appraisal of the Records of Science and Technology (JCAST).
The Hagley Museum and Library, and specifically the Center, agreed to design a
study incorporating these views and interests, write a proposal, seek funding
for the project, and conduct and publish the study.
Since then, a project has been designed, a proposal written, and an informal
discussion of the project held at the 1987 Business History Conference in
Wilmington. The project consists of three sections: a discussion of the issues
involved in acquiring and retaining corporate records; an historiographical
essay treating the uses of these records within and outside of the corporation;
and, the core of the study, an appraisal manual. Primary authors of the manual
are Francis X. Blouin (Bentley Historical Library, University of Michigan),
Michael Nash (Hagley Museum and Library), and Christopher Baer (Hagley Museum
and Library). The project is planned to involve its target audience--business
executives, historians, archivists, and records managers÷throughout the process.
For example, the authors will seek the advice of corporate archivists on various
points; and Karen Benedict will arrange and chair periodic seminars for the
purpose of critiquing drafts of manual articles.
The project will begin in 1988 and run for two years. The Center will then
publish and distribute the study.
On Monday, October 5, 1987, the Center will sponsor a one-day conference on
"History and the Corporation" at the Hagley Museum and Library. Two papers on
corporations use of the historical record in response to legal action will
comprise the morning program. The afternoon session will be devoted to a panel
commentary and discussion of the two papers and the broader issues involved.
Participants will include Henry Hanson, president of Chiefton Industries; Louis
Galambos, professor of history, Johns Hopkins University; Robert Lewis of AT&T;
and Thomas Huertas of Citibank. Harold Anderson, vice president of Wells Fargo
Bank, will give the keynote address, and Alfred D. Chandler, Jr., Straus
Professor of Business History, Harvard Business School, will chair the afternoon
panel.
During the summer of 1987 the Center will publish the first issue of its
semi-annual "Business History Bulletin." The "Bulletin" is designed to be a
forum for the exchange of information by those who read, write, practice, use,
and commission business history. The "Bulletin" will contain articles, written
by businessmen and women, historians, archivists, and curators, illustrating the
uses of business history (e.g., advertising and public relations), as well as
traditional scholarly works. All members of the SAA Business Archives Section
will receive the "Bulletin" free of charge.
For information about the Center or any of its programs, contact Elizabeth Gray
Kogen, Executive Administrator, Hagley Museum and Library, P.O. Box 3630,
Wilmington, DE 19807, (302) 658-2400, ext. 243.
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CHOOSING THE RIGHT REPOSITORY: PROVISIONAL BUSINESS ARCHIVES SECTION GUIDELINES
Every business, regardless of its age, has archival records. "Archival" means of
permanent historical, informational, administrative, legal or fiscal value.
"Records" may include textual, cartographic, audio÷visual, and machine÷readable
documents as well as photographs, prints, graphics, paintings, and artifacts.
These records, however, only retain their value to the company if they are
accessible and used. While an increasing number of companies are establishing
archives within their own institutions, other businesses and corporations are
donating their archival records to historical societies or research libraries.
Every company first should decide what archival records it has, how useful the
records are to the operation, and whether it wishes to establish its own
archives. The Business Archives Section of the Society of American Archivists
can provide guidance and a bibliography of articles to help in setting up a
professionally designed and managed archives. After considering its options, the
company may decide to investigate the possibility of donating its archival
records to an outside repository. The Company needs to find a repository whose
staff can arrange and describe the materials so that they are accessible to the
company as well as to other researchers, and can provide adequate reference
service.
Shopping for the right repository for oneÂs archival materials can be as
complicated as picking the right computer system and may take as much effort. No
one can make the choice for you, but if these guidelines can demystify the
process by suggesting some of the questions you will have to answer. HereÂs a
description of how your company should proceed.
Identifying Materials to be Donated. The corporation must first decide what it
is willing to donate.
What records are archival? Definitions and sample lists are available through
SAA.
What archival records does the Company have? Are they located in one department
or scattered throughout the company? The corporation may need to hire an
archivist on a temporary basis just to survey and identify the archival
materials.
Is the Company seeking a repository for a one÷time donation or is the Company
seeking a repository that can provide archival services and accept records on a
continuing basis?
Is the Company willing to accept the repositoryÂs guidelines on access to its
records and to relinquish sole control over its records?
Repositories want records that eventually will be open to researchers. They are
not off-site storage facilities or commercial records centers leasing space to
the Company.
Once the archival records to be donated are identified, legal counsel should
determine if there are any problems involved in donating the materials, e.g. are
there copyright or confidentiality questions regarding any of the materials, are
the materials the property of the Company or do other organizations or people
have claims to the records? The Legal Department also should indicate which
Company staff person is authorized to legally transfer the title of Company
records. A resolution of the Board, signed by the Secretary of the corporation,
may be the appropriate mechanism.
If the records cannot be donated legally, a repository may agree to take the
records on deposit. The Company retains ownership but the records are sent to
the repository for a stated number of years where they may be arranged and
described and made available to researchers on the same basis as if the
collection were donated.
Are the Materials Useful to the Company? Decide how frequently the Company would
need to refer to the archival materials it wishes to donate.
Does Public Relations use the materials for newsletters, internal exhibits, or
presentations?
Does Legal or Finance require reference access to minutes or statements of
condition?
Does Marketing and Advertising use historical information in campaigns or
presentations?
Do senior executives refer to past achievements in speeches or review past
policies or decisions prior to meetings?
WhatÂs done for employee, Company, and client anniversaries?
If the materials the Company wishes to donate have continuing use to the
corporation, choose a repository in your own city, within 24-hour delivery
service, or within driving distance so that Company employees can do the
research themselves. If you cannot find the right repository nearby, make sure
the agreement with the repository you select enables you to get prompt reference
service and reproductions of materials within what management considers a
reasonable time. Remember that types and numbers of reproductions requested
affects turnaround time, and that most repositories do not have facsimile or
other transmission equipment. The computer age may be upon us but non-profit
historical organizations cannot, as a rule, convey images elec-tronically via a
computer network.
Locating Potential Repositories.
What repositories are available?
Can they provide continuity of service?
The most likely repositories are major public libraries, major universities,
city, county and state historical societies, and members of the Independent
Research Libraries Association. One way of finding "established" repositories is
to look at the directories of historical organizations prepared by The American
Association for State and Local History and the National His-torical
Publications and Records Commission. Research centers for special topics, e.g.
The Center for History of Chemistry, often know the repositories that contain
records in their partic-ular field. A consulting archivist or a Company
librarian should be able to create a list of potential repositories for your
materials.
Records of archival value should remain together. Do not allow a repository to
pull selected valuable documents from your records. Do not consider donating
your records to several dif-ferent repositories, e.g. engineering drawings to
one institu-tion, photographs to a second, and minutes of board meetings to a
third. Similarly, do not donate officers records to their indi-vidual alma
maters. Archival records continue to be created every day. You should donate
archival records at regular inter-vals to the repository you select.
What to Ask Potential Repositories. Approach an institu-tion. A telephone call
to the manuscripts department should get you a quick "yes, we might be
interested" or "no, itÂs not the type of material we collect." If the response
is "no," ask for suggestions of appropriate repositories. If "yes," ask for a
copy of the repositoryÂs mission statement, collecting policy, the last three
years annual reports (financial and narrative), and deed of gift or deposit
agreement.
The mission statement and collecting policy will tell you what role the
institution sees for itself, and what it collects by geographic region, type of
materials, date range, and subject matter. Does the institution have business
records similar to yours or will your CompanyÂs records fall outside the
repositoryÂs prior experience? Would researchers expect to find such a
collection at the repository?
The annual reports will indicate the repositoryÂs financial condition and how
much money it devotes to the preservation, arrangement, and reference service
for its collections. It will also list the board of trustees, some of whom might
be business colleagues from whom you can get further information about the
institution.
The deed of gift will point out the terms and conditions the institution
considers when accepting donations of materials. The deposit agreement will
state the costs and other terms and condi-tions of the repository if it agrees
to take records on deposit. The lack of any of these documents may suggest a
less than professional organization.
What to Look For When You Visit Potential Repositories.
If the institution appears on paper to be a responsible, viable organization,
arrange to visit it. If you donÂt know much about the operations of an archives,
and most people donÂt, take along a consulting archivist, a Company librarian,
public relations person or anyone who has good judgment and understands how the
Company uses its archival materials. In addition to speaking with the director
of the repository, talk to the staff in the areas where your materials would be
housed. Visit the records storage area, the area where your materials would be
sorted and arranged for use, and the reference area.
Is the physical space adequate?
Are there environmental controls that will limit the deterioration of paper and
other types of material?
How much of a backlog of "unprocessed" collections, i.e. materials that have not
yet been arranged and described, is there?
What are the qualifications of the staff?
What is the staff turnover figure?
How many researchers use the facility and who are they? What is the purpose of
their research? What books and articles have been published using collections
similar to yours?
What other companies have donated materials? Get references.
Most important, whatÂs your "gut feeling" about the institu-tion and its people?
If you are not satisfied, keep looking. You and your successors must live with
the choice for years to come.
Costs of Donating Materials. If you have found the right repository, donate the
materials. Be prepared to pay some of the associated costs. Some archives and
research libraries estimate that it takes two people÷days to arrange and
describe one cubic foot of materials. Increasingly, for large collections (fifty
cubic feet or more), repositories request the donor to provide funding for the
labor involved in arranging and describing the collection so that the
information and materials are accessible to researchers. Without additional
financial support, a repository may accept the records but be able to do little
more than add them to the shelves of unprocessed collections where they may
remain for years, of no use to you or anyone else.
The repository may also ask the Company to pick up the transportation expenses
and shelving costs if it is accepting a large collection.
If you plan to rely on the reference service of the repository rather than
having your own staff do the research, determine an hourly rate for the
specialized reference service you may need, including reproduction costs. The
Company may also wish to fund the publication of the finding aid to its
collec-tion.
The Company will be entering a long-term relationship with the repository it
chooses. In addition to financial support for its own records, the Company
should become a corporate member of the institution, and make an annual
contribution to the operating fund. A senior manager might participate in the
governance of the repository, and the Company might offer services in kind, e.g.
loaning a systems analyst, or advertising for volunteers among its retired
employees to work in the institution.
The Legal Agreement. Make sure the deed of gift you and the repository sign
covers all questions of access and ownership.
Do you wish the records available to any researcher who meets the requirements
of the repository or must they first obtain the CompanyÂs written permission?
Do you wish to restrict the use of a portion of the records, and for how long?
Do you wish to transfer copyright to the repository?
Even though copyright is transferred, do you wish to be informed of publication
and reproduction from your records?
May copies of the donated records be deposited for use in other institutions?
Do you wish to place restrictions on reproductions of records for reference use?
Do you wish to be able to borrow some of the records?
Does the repository have your permission to dispose of unwanted records it
discovers when "processing" the collection or do you wish them returned to the
company?
Many of the same questions should be answered if the Company is depositing its
archival records. The repositoryÂs charge for processing, and for making a
microfilm or other copy of the collection before returning the records to the
Company should be determined.
Conclusion. Archival records are a unique corporate asset that appreciate in
value. Finding the right repository can ensure that your records will serve you
and be of use and interest to others. If you wish additional information or
advice, contact the Society of American Archivists, 600 South Federal, Suite
504, Chicago, IL 60605 (312) 922÷1040, and ask for the name and telephone number
of the chairperson of the Business Archives Section.
to top of 1987
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