How to set up your own oral history project:
A useful guide for teachers
Oral history projects are a great way to link cross curricular subjects and develop
pupil’s investigation skills.
These guidelines are based on The Corner Shop Project case study and informed by English
Heritage and the Oral History Society best practice.
This pack also includes documentation templates which can be adapted (for archival storage).
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Contents
Introduction to Oral History
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Our memories and others memories
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Starting your project
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Aim of your project
6
Formulating questions for your project
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Preparation for the interview
8
Conducting the interview
8
Dos and Don’ts
9
At the end of the interview
10
Signed clearance
Documentation Examples from the Corner Shop project:
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Clearance Form
Interview summary sheet
Interview synopsis
Archive contribution
Summary of the Key points for the interview
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Introduction to Oral History
Oral history is a record of experiences, memories, attitudes, actions and emotions.
Oral history records people’s experiences using audio or video recording equipment. It is a vital
tool in our understanding of the recent past. We are no longer dependent on the written word
alone.
Oral history is particularly helpful in making history available to everyone; it can inspire students
who do not respond well to written text.
Oral history is new and exciting because it is interactive; it is shared history and a rare chance to
actually talk about history face-to-face.
Oral history enables people or communities who have been hidden from history to be heard.
Traditional history has previously obscured or silenced the history of a number of groups in
society.
Oral history provides a positive chance to mark and celebrate the histories of people who were
previously excluded or marginalized in more traditional history, adding and enriching the historical
record.
Oral history offers a depth of understanding rarely matched in documentary sources.
Oral history allows us to value the lives and contributions of all members of society.
Our Memories and Others’ Memories
Memories are:
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Of things we understand
Of things which we are interested
Organised
Selective
Reconstructed
Memories are influenced by:
 Age
 Gender
 Class
 Ethnic and cultural background
 Subsequent experiences
 Changes in social values and attitudes
 Other people
 The interviewer
What do we remember?
 Places
 Events
 Activities
 Daily routines
 People
 Feelings
 Attitudes
 Values
 Sounds
 Smells
 Images
 Tastes
What don’t we remember?
 Dates
 Statistics
 Fact and list
 Chronology
Types of information
Memories of own experiences
Evaluation of own experiences
Second hand information, oral traditions
Collective memory
Oral History Association of Australia Journal. No. 18 1996
Starting your project
Oral history projects work very well as a cross curricular activity allowing students to explore
their investigation skills. Depending on the theme of your topic you can link a wide range of
subjects including history, IT, citizenship, drama, mathematics, geography, art, religion or sport.
You could choose to do something local and very specific or take a more general theme. Local
history projects could also be used to produce a CD to be used in local primary schools.
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Topics might include:
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Your school.
Your local High Street:- how do people feel about the changes, what can they remember from
their childhood. Collect data that can be processed by the maths department on where did
they travel from, distance, time it took, who with, how did they get there, what did they buy.
Sporting teams: - how long have they supported the club, how has it changed, collect travel
data from supporters.
Change of use of a local building: - is the old cinema now a pub or supermarket, what is
happening to local religious buildings.
Different local communities – our global world/migration.
A modern local housing estate, Retail Park or a new road: - what was there before it was built.
A major local employer, either still in business or closed down: - how did it affect the area,
what products did it manufacture, what was it like to work there, did it cause pollution, and
did it have a social or sporting club?
Local weather catastrophes: - Flooding, tornadoes. How does this fit into world weather
patterns.
Think about how to find your interviewees, word of mouth, local societies, on the street,
advertise in local news paper; invite people to an open event at your school? Will they give you an
unbiased view point?
After you have completed your interview you can follow up with research at your local archive
service usually run by your council through their library service.
Many Archive services run education workshops where the children can discover how to
effectively research their project. They will learn research techniques, how to prove the
authenticity of records and how to record and reference their findings. Many Archive Services also
have web sites with photographs and a catalogue of some of their records e.g.
www.blackcountryhistory.org.
By finding as much evidence in old documents and photographs and linking them to contemporary
photographs and their interviews the children can start to build up a picture of the life of the area
of their project and the people who lived there reflecting the changes over the past decades.
You may also use local studies libraries and internet- based research. Useful information can be
found on
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The Oral History Society web site www.ohs.org.uk
English heritage Website www.english-heritage.org.uk
CABE website engagingplaces@cabe.org.uk
Recording Equipment
There are a variety of ways to record your interviews with people. Digital voice recorders, minidisk recorders and directional microphones are available from most electrical shops. You could
also use a camcorder with a microphone and just use the audio from it.
The Aim of your Project
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When you have decided on the aim of your oral history project you can use this information to
provide support throughout the interview process.
Firstly consider the extent and scope of your project, who do you want to interview? Can you
interview on the street or do you need to arrange formal appointments for your interviews. To
use the information you collect from the public you will need written consent, example forms can
be found at the end of this pack. Refer to your school’s Child Safety Policy when arranging and
travelling to the interviews. Consider whether you will you need to cover any expenses for the
students or interviewees?
Discuss the idea with the students; as the project develops be prepared to change the theme
slightly if new information is discovered.
The Corner Shop Project training pack developed for volunteer researchers has been used to
compile this guide to developing your own oral history project. The Corner shop project was a
partnership between Black Country Touring and Foursight Theatre, English Heritage, Sandwell
Community History and Archive Service and Sandwell Museum Service, its aim was to produce a
theatre production, an exhibition and a long term historical legacy; this was reflected in the quality
of recording equipment they used and the style and depth of the interview.
The aim of their project was to uncover the changing face of the corner shop over the past 60years. By interviewing shop owners their aim was to unearth stories about traditional English
corner shops, South Asian shops, African Caribbean shops, and shops now run by newer
immigrant communities.
The oral history interviews were used to document and celebrate this important social history in a
number of ways:
 A site-specific theatre production, which charted the changing nature of the corner shop taking
the audience on an experiential journey through live performance.
 An archive, so that in the future members of the public could learn about this aspect of our
heritage.
 A touring exhibition, featuring the interviews, old and modern photographs of the shops and
history of the development of corner shops.
 An ongoing presence is now on the Internet on the Connecting Histories website run by
Birmingham Archives and Heritage and on this website.
If you would like to deposit your archive material with a local archives service, then you should
contact them first to see if they have any templates you could follow so it is easier to catalogue
your work.
Formulating Questions for your project
When thinking of questions to ask during the interview it is good to use a mixture of questions.
Open-ended questions
These are questions where the answer will be more than a yes or no. They often begin with what,
where, when, who, how and why. Try to keep the questions focused “what did you think about
your school?” could lead to “not much, didn’t really like it” or open the floodgates to a stream of
memories so ask a series of more specific questions.
E.g. What was the school entrance like?
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Closed or direct questions
These will help clarify facts or details and will usually be answered with a yes or no, fact or a date.
E.g. What year did you start school?
Follow-up questions
These are used to follow up after a line of questioning. It may provide further information on an
area of interest or lead to another topic.
E.g. Was that the first time you had detention?
Evaluative questions
These questions allow the interviewee to reflect on the issues in more depth and so can produce
some interesting thoughts and insights.
E.g. How did that make you feel?
For a successful interview it is best to avoid the following styles of question.
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Leading questions - these questions contain suggestions for the response, which is unfair to the
interviewee.
Confrontational questions - these questions can make the interviewee uncomfortable and are
simply not productive.
Too much Jargon – these can confuse the interviewee and make it difficult to answer.
LISTENING to the interviewee and taking a moment to think before asking further questions
can overcome most of these issues.
Preparation for the Interview
If your project requires formal interviews, when making the arrangements with the interviewee
talk about your project and suggest that the interviewee gather any objects or photos that may
hold significance or bring back memories.
Decide if the pupils should interview in pairs, groups or the whole class asking questions
Working as a group the students should practice the interview beforehand, using the guidance on
formulating questions. Make notes on the set questions, on what to ask and how to ask them.
Work out how long the interview is expected to take, if you anticipate the interview will take
about an hour, it is advisable to plan the session for up to two hours.
If you are travelling to meet the interviewee ensure you have the correct address and time for the
meeting. Make sure you know how to get there; you have everything you need and that you set
off in good time.
Ensure the room in which the interviews will take place is appropriate for recording (it is quiet
and has the relevant number of electrical sockets) and that the interviewee will be comfortable.
Ensure the equipment is working and you know how to use it, make sure any leads are not likely
to trip anyone. CD recorders need to be on a flat surface, is there an area available? If using
battery operated recording equipment, make sure the batteries are fully charged and spare ones
are also available.
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Make sure that the appropriate arrangements have been made to ensure that the students are safe
at all times.
Conducting the Interview
Begin the interview by discussing the consent form and then discuss the project and how integral
their input will be to the project as a whole. Let them know that they control the interview and
that they can stop the interview. State that they can say if they do not want to continue with any
specific line of questioning and you want them to feel entirely comfortable with the process.
It is nice to begin the interview by saying a small amount about yourself, after this try to keep any
further verbal input brief. Try to indicate without using your voice during the interviews especially
when the interviewee is talking. Ask how they would like to be addressed, by their first name or
as Mr or Mrs (surname)
Ensure your body language shows that you are listening and open. Concentrate on what is being
said; if your attention wanders the interviewee will also lose interest.
Speak clearly, make sure you can be heard, and that the question is plainly understood.
Be empathetic and sensitive to your interviewee. Stay aware of their feelings at all times. It can be
tiring and often emotional when discussing your personal history.
Be prepared for surprises and possible disclosures. During the interview you may hear something
you didn’t expect or weren’t prepared for. It is important to remain professional and sensitive at
all times.
Dealing with digression - It can be productive to follow a line of thinking as it can lead to relevant
and interesting findings. Sometimes it is clear that the line of thinking is not worth pursuing and it
is best to bring it back. Do not interrupt, but if they have gone off the point you can use phrases
like “earlier on you were saying” or “can we go back to…”
Always be open to what your interviewees are telling you. Do not impose your own ideas.
Be prepared to ask for clarification if there is something you don’t understand.
Say thank you when you have finished.
Dos and Don’ts
Do
 Be a good and interested listener
 Follow your interviewee’s train of thought
 Stick to a fruitful area and follow it through while the memories are flowing
 Be sensitive to your interviewee’s feelings, values and needs
 Be aware of your own biases and prejudices
 Be patient
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Be empathetic
Provide emotional support if needed
Allow your interviewee to complete their story
Encourage your interviewee to reconstruct physical environments and conversations if
appropriate
Respect silences if there are pauses while your interviewee recollects and/or selects memories
Provide positive non-verbal reinforcements to assure your interviewee that the memories that
they are offering are worthwhile.
Ask for and make use of family photographs and other personal documents and papers if
appropriate
Spend time with your interviewee after the recorder has been switched off
Try to end on a positive note and bring your interviewee back to the present
Don’t
 Interrupt a story
 Impose your way of thinking or your order of topics, as people construct and tell their story
very differently
 Dominate the interview
 Interrogate your interviewee
 Ask questions that have already been answered
 Ask questions by telling all you know first
 Put forward your opinions or moral judgements
 Be afraid of silences or pauses
 Exhaust your interviewee
At the end of the Interview
Ensure the recording and any other material related to the interview is clearly labelled with the
interviewer’s name, the interviewee’s name, the date and venue of the interview.
Ensure the consent form has been signed and dated.
Once the interview is completed it is nice to spend some time with the interviewee to wind down
and relax.
After leaving the interview follow-up with the interviewee through a telephone call or thank you
note.
If you are using an Interview Synopsis and Interview Summary sheet ensure they have been
completed with details of the original interview and the translation (if necessary). These visual
records of the interview are very useful in evaluating the interview and deciding which areas to
include in your final piece of work.
Ask the interviewee whether they would consent to having photographs taken to be used in your
project and whether they have anything they would like to contribute to the project, this could
include old photographs (to donate or to be copied and the original to be returned), or other
objects relevant to your project. Record any contributions, the Archive Contribution form could
be used as a template.
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If the interviewee’s objects are for loan only then you may wish to design your own form to cover
any loss or damage to the items.
Signed Clearance
Signing clearance forms ensures the interviewer and interviewee both understand the nature of
the project and the future use of the recording.
The written consent, when kept with the recording ensures the recordings are not used for
anything other than what was consented.
Through copywriting law it is a legal requirement for interviewees to give clearance for any
recordings to be used outside school.
It can be seen as a peace of mind for some interviewees that their recording will only be used for
the purpose agreed.
To follow are examples of forms used by the Corner Shop Project to act as a template for your
own project.
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The Corner Shop – Clearance Form (for adaptation for your own project)
Thank you for your help and contribution to The Corner Shop project. The information you have
provided us with is a valuable resource.
The recording will be used by Foursight Theatre Company to create a new piece of theatre, it will
also be held at the Sandwell Community History and Archive Service based at Smethwick Library
and by English Heritage at the National Monuments Records Centre, Swindon.
Under the 1988 Copyright Act, it is necessary to seek your written permission to use the
recordings for our purposes. This in no way restricts any use you may wish to make of the
information you have supplied, but enables us to ensure that your contribution is preserved for
posterity and used in accordance with the aims of The Corner Shop Partnership and with English
Heritage’s Constitution.
Name:
Date of Recording:
Interview Subject Categories:
Do you give permission for The Corner Shop Partnership to use your contribution for:
 The creation of a new piece of theatre
Yes
 On official websites of The Corner Shop partnership
Please circle
 Public reference e.g. Talks
 Educational use e.g. In schools workshops
 Publication
 Broadcasting use on radio/television or on websites
Would you prefer your name or your initials to be mentioned in any of the
above formats?
Are you willing to transfer full copyright of the recording to The Corner
Shop Partnership?
Name
Please circle
Yes
Please circle
No
Initials
No
Interviewee’s Name:
Interviewee’s Signature:
Address: (for correspondence)
Name and Location of Shop:
(if appropriate)
Telephone Number:
Interviewer’s Name:
Interviewer’s Signature:
Date of Interview:
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The Corner Shop - Interview Summary Sheet (for adaptation for your own project)
Accession Number:
Project:
Name:
Address:
Name of Shop: (if
appropriate)
Address of Shop: (if
appropriate)
Telephone Number:
Date of Birth:
Place of Birth:
Date of Interview:
Interviewer:
Format:
Number of discs:
MiniDisc/ CD *Please delete as appropriate
Master/ Copy Locations:
Duration of Recording:
Copyright Instructions: Joint copyright by all three organisations – Black Country Touring, Foursight
Theatre Company and English Heritage
Documentation:
Synopsis
Translation
Detailed Summary
Transcript of Translation
Summary of Topics Discussed:
Other information:
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The Corner Shop - Interview Synopsis (for adaptation for your own project)
Accession No.:
Project:
Interviewee:
Date of interview:
Format:
Number of discs:
MiniDisc/ CD *Please delete as appropriate
(Please refer to the Interview Summary Sheet for full details & copyright clearance)
Track Number
Details
Comments
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The Corner Shop – Archive Contribution (for adaptation for your own project)
Name of Interviewee:
Address and Postcode of Interviewee:
Telephone Number of Interviewee:
Name of Shop: (if appropriate)
Address and Postcode of Shop: (if
appropriate)
Would the Interviewee like to contribute any materials to the archive?
Yes
No
What would they like to contribute to the archive?
Does the Interviewee consent to allowing a photographer to visit and take
photographs?
Preferred method of contact:
Yes
No
Preferred time and dates for visit by archivist and photographer:
Name of Researcher:
Date of Interview:
Notes:
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Summary of the Key Points for the Interview
Before the Interview
 Ensure the interviewee understands the nature of the interview and the project as a whole
 Arrange a suitable time and location for the interview
 Ring to confirm the date, time and venue of the interview
 Check all equipment is working and batteries are charged
On the Day of the Interview
 Take all the equipment
-Sound recorder
-Microphone
-Batteries or mains lead
-extra CDs or DVDs for recording
-Set questions
-All forms
-Paper and pen for notes
 Arrive on time
 Ensure the room is quiet and comfortable
 Take time to settle down, put the interviewee at ease and explain the process
 Set up the equipment – explain it to the interviewee to demystify it
The Interview
 Begin recording with name of interviewer, interviewee, date and place of interview
 Check recording levels
 Keep an eye on the tape recorder and battery levels
 Label any CDs or DVDs
 Talk the interviewee through the project and how you will be asking them to read and sign the
clearance form at the end of the interview
 Ask questions clearly
 Listen carefully
 Use non-verbal body language to show interest
 Be flexible in questioning to allow for unexpected stories
 Allow silences and pauses to give the interviewee time to think and recollect
 Be sensitive to tiredness – both yours and the interviewee’s
 At the end of the interview stay and chat for a while to allow the interviewee to unwind
 Fill in the clearance form and ensure the interviewee has signed it
 Fill in the archive contribution form
After the Interview
 Telephone or send thank you note to the interviewee
 Translate the interview (if necessary) and label the translation CD or DVD
 Fill in the Summary Sheet and Interview Synopsis
 Ensure all recordings and signed forms are kept together
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