DE LA SALLE UNIVERSITY

DEPARTMENT OF HISTORY

Marcos Martial Law Era

Oral History Project

Basic Guidelines

I. TOPIC: ANY ASPECT OF THE MARCOS MARTIAL LAW YEARS

(POLITICAL, ECONOMIC, SOCIAL, CULTURAL, ETC.)

II. OBJECTIVES:
a. To record oral testimonies of individuals who experienced the Marcos Martial
Law Era.
b. To create a legitimate source of historical information on the Marcos Martial Law
Era.

III. INFORMANT REQUIREMENTS:

1. Informant must have first-hand knowledge of the Marcos Martial law.
2. Informant must talk about the Marcos Martial Law as an event.
3. Informant must have relevant knowledge of any aspect of the Marcos Martial Law.
4. Informant must be willing to have the interview recorded and published.

IV. Interview Duration – More or less 1 hour

V. Recording Format- Preferably video recording (MP4)

VI. Steps:
1. Students will conduct a background study on the Marcos Martial Law, the specific topic
and the interviewee; with the help of the professor.

2. Students will draft a questionnaire for a semi-structured interview with the guidance of
the professor.

3. Students may conduct an unrecorded preliminary interview and update the questionnaire
if necessary.

4. Interview proper.

5. Transcription- (formal- use Mr./Ms./Dr./etc. + family name to identify interviewer and

interviewee)

6. For Submission (hard and soft copies):

a. Copy of video (Saved in DVD or Flash Drive and properly labelled with the Title,
Name of Interviewee, Date, Venue, Subject, Section and Professor)
 b. Written Output
i. Title Page (Title, Names of Interviewees, Name of Interviewers, Date,
Venue)
ii. Information Sheet and Signed Informed Consent Form
iii. Table of Contents
iv. Text
1. Background Study
2. Guide Questions
3. Transcription of Interview
4. Index of Topics Discussed
5. Analysis/Evaluation of the Interview
6. References
v. Appendices

7. Style of Written Output

a. Times New Roman
b. Font 12
c. Double Spaced
d. Letter Size Paper
e. Standard Margins

VII. Rubric for Grading

MARCOS MARTIAL LAW ORAL HISTORY PROJECT GRADING RUBRIC GRADE
Grading:
4- Excellent (93-100)
3- Good (85-92)
2- Satisfactory (75-84)
1- Poor (70-74)
0- No contribution/Irrelevant (< 69)
Background Study To be graded on the basis of extensiveness and relevance
to the topic
Is the interviewer well-informed about the subjects under
discussion?
Are adequate primary and secondary sources used to
prepare for the interview?

Questionnaire To be graded on the basis of depth and relevance

Does the interviewer pursue the inquiry with historical
integrity?
Does the interview contribute to the larger context of
historical knowledge and understanding?

Transcription To be graded on the basis of accuracy

Is the transcript an accurate record of the tape?
 Is a careful record kept of each step of processing the
transcript, including who transcribed, audited, edited,
retyped, and proofread the transcripts in final copy?
Are the nature and extent of changes from the original
recording known to the user?
Does the transcript contain time references and annotation
describing the complementary visuals on the videotape?

Index of Topics To be graded on the basis of extensiveness and accuracy

Are they suitable and accurate?
Are there any restrictions on access to or use of the
transcripts?
Are they clearly noted?

Are there any photo materials or other supporting

documents for the interview?
Do they enhance and supplement the text?

Analysis and To be graded on the basis of depth and extensiveness)

Evaluation Is the interview contextualized?
Is there depth in the analysis/evaluation?
Is the interview properly cited?

TOTAL
TOTAL GRADE
15 = 100 (Excellent)
14 =93 (Very Good)
13 = 86 (Good)
12 = 80 (Satisfactory)
11 = 73 (Poor)
10 = 66 (Fail)

VIII. APPENDICES: GUIDES FROM THE INTERNET

APPENDIX 1: PRINCIPLES AND BEST PRACTICES

(http://www.oralhistory.org/about/principles-and-practices/)

Principles and Best Practices

Principles for Oral History and Best Practices for Oral History
Adopted October, 2009
Introduction
General Principles for Oral History
Best Practices for Oral History

The Principles and Best Practices for Oral History update and replace the Oral History
Evaluation Guidelines adopted in 1989, revised in 2000.
Introduction
Oral history refers both to a method of recording and preserving oral testimony and to the product
of that process. It begins with an audio or video recording of a first person account made by an
interviewer with an interviewee (also referred to as narrator), both of whom have the conscious
intention of creating a permanent record to contribute to an understanding of the past. A verbal
document, the oral history, results from this process and is preserved and made available in
different forms to other users, researchers, and the public. A critical approach to the oral testimony
and interpretations are necessary in the use of oral history.

The Oral History Association encourages individuals and institutions involved with the creation
and preservation of oral histories to uphold certain principles, professional and technical standards,
and obligations. These include commitments to the narrators, to standards of scholarship for
history and related disciplines, and to the preservation of the interviews and related materials for
current and future users.

Recognizing that clear and concise guide can be useful to all practitioners of oral history, the Oral
History Association has since 1968 published a series of statements aimed at outlining a set of
principles and obligations for all those who use this methodology. A history of these earlier
statements, and a record of the individuals involved in producing them, is available to download.

Building on those earlier documents, but representing changes in an evolving field, the OHA now
offers General Principles for Oral History and Best Practices for Oral History as summaries of the
organization’s most important principles and best practices for the pre-interview preparation, the
conduct of the interview, and the preservation and use of oral histories. These documents are not
intended to be an inclusive primer on oral history; for that there are numerous manuals,
guidebooks, and theoretical discussions. For the readers’ convenience, a bibliography of resources
is provided online at the Oral History Association website.

General Principles for Oral History

Oral history is distinguished from other forms of interviews by its content and extent. Oral history
interviews seek an in-depth account of personal experience and reflections, with sufficient time
allowed for the narrators to give their story the fullness they desire. The content of oral history
interviews is grounded in reflections on the past as opposed to commentary on purely
contemporary events.

Oral historians inform narrators about the nature and purpose of oral history interviewing in
general and of their interview specifically. Oral historians insure that narrators voluntarily give
their consent to be interviewed and understand that they can withdraw from the interview or refuse
to answer a question at any time. Narrators may give this consent by signing a consent form or by
recording an oral statement of consent prior to the interview. All interviews are conducted in
accord with the stated aims and within the parameters of the consent.

Interviewees hold the copyright to their interviews until and unless they transfer those rights to an
individual or institution. This is done by the interviewee signing a release form or in exceptional
circumstances recording an oral statement to the same effect. Interviewers must insure that
narrators understand the extent of their rights to the interview and the request that those rights be
yielded to a repository or other party, as well as their right to put restrictions on the use of the
material. All use and dissemination of the interview content must follow any restrictions the
narrator places upon it.

Oral historians respect the narrators as well as the integrity of the research. Interviewers are obliged
to ask historically significant questions, reflecting careful preparation for the interview and
understanding of the issues to be addressed. Interviewers must also respect the narrators’ equal
authority in the interviews and honor their right to respond to questions in their own style and
language. In the use of interviews, oral historians strive for intellectual honesty and the best
application of the skills of their discipline, while avoiding stereotypes, misrepresentations, or
manipulations of the narrators’ words.

Because of the importance of context and identity in shaping the content of an oral history
narrative, it is the practice in oral history for narrators to be identified by name. There may be
some exceptional circumstances when anonymity is appropriate, and this should be negotiated in
advance with the narrator as part of the informed consent process.

Oral history interviews are historical documents that are preserved and made accessible to future
researchers and members of the public. This preservation and access may take a variety of forms,
reflecting changes in technology. But, in choosing a repository or form, oral historians consider
how best to preserve the original recording and any transcripts made of it and to protect the
accessibility and usability of the interview. The plan for preservation and access, including any
possible dissemination through the web or other media, is stated in the informed consent process
and on release forms.

In keeping with the goal of long term preservation and access, oral historians should use the best
recording equipment available within the limits of their financial resources.

Interviewers must take care to avoid making promises that cannot be met, such as guarantees of
control over interpretation and presentation of the interviews beyond the scope of restrictions
stated in informed consent/release forms, suggestions of material benefit outside the control of the
interviewer, or assurances of an open ended relationship between the narrator and oral historian.

Best Practices for Oral History

Pre-Interview
1. Whether conducting their own research or developing an institutional project, first time
interviewers and others involved in oral history projects should seek training to prepare themselves
for all stages of the oral history process.
2. In the early stages of preparation, interviewers should make contact with an appropriate
repository that has the capacity to preserve the oral histories and make them accessible to the
public.
3. Oral historians or others responsible for planning the oral history project should choose potential
narrators based on the relevance of their experiences to the subject at hand.
4. To prepare to ask informed questions, interviewers should conduct background research on the
person, topic, and larger context in both primary and secondary sources
5. When ready to contact a possible narrator, oral historians should send via regular mail or email
an introductory letter outlining the general focus and purpose of the interview, and then follow-up
with either a phone call or a return email. In projects involving groups in which literacy is not the
norm, or when other conditions make it appropriate, participation may be solicited via face to face
meetings.
6. After securing the narrator’s agreement to be interviewed, the interviewer should schedule a
non-recorded meeting. This pre-interview session will allow an exchange of information between
interviewer and narrator on possible questions/topics, reasons for conducting the interview, the
process that will be involved, and the need for informed consent and legal release forms. During
pre-interview discussion the interviewer should make sure that the narrator understands:
*oral history’s purposes and procedures in general and of the proposed interview’s aims and
anticipated uses.
*his or her rights to the interviews including editing, access restrictions, copyrights, prior use,
royalties, and the expected disposition and dissemination of all forms of the record, including the
potential distribution electronically or on-line.
*that his or her recording(s) will remain confidential until he or she has given permission via a
signed legal release.
7. Oral historians should use the best digital recording equipment within their means to reproduce
the narrator’s voice accurately and, if appropriate, other sounds as well as visual images. Before
the interview, interviewers should become familiar with the equipment and be knowledgeable
about its function.
8. Interviewers should prepare an outline of interview topics and questions to use as a guide to the
recorded dialogue.

Interview
1. Unless part of the oral history process includes gathering soundscapes, historically significant
sound events, or ambient noise, the interview should be conducted in a quiet room with minimal
background noises and possible distractions.
2. The interviewer should record a “lead” at the beginning of each session to help focus his or her
and the narrator’s thoughts to each session’s goals. The “lead” should consist of, at least, the names
of narrator and interviewer, day and year of session, interview’s location, and proposed subject of
the recording.
3. Both parties should agree to the approximate length of the interview in advance. The interviewer
is responsible for assessing whether the narrator is becoming tired and at that point should ask if
the latter wishes to continue. Although most interviews last about two hours, if the narrator wishes
to continue those wishes should be honored, if possible.
4. Along with asking creative and probing questions and listening to the answers to ask better
follow-up questions, the interviewer should keep the following items in mind:
• interviews should be conducted in accord with any prior agreements made with narrator, which
should be documented for the record.
• interviewers should work to achieve a balance between the objectives of the project and the
perspectives of the interviewees. Interviewers should fully explore all appropriate areas of inquiry
with interviewees and not be satisfied with superficial responses. At the same time, they should
encourage narrators to respond to questions in their own style and language and to address issues
that reflect their concerns.
• interviewers must respect the rights of interviewees to refuse to discuss certain subjects, to restrict
access to the interview, or, under certain circumstances, to choose anonymity. Interviewers should
clearly explain these options to all interviewees.
• interviewers should attempt to extend the inquiry beyond the specific focus of the project to
create as complete a record as possible for the benefit of others.
• in recognition of the importance of oral history to an understanding of the past and of the cost
and effort involved, interviewers and interviewees should mutually strive to record candid
information of lasting value.
5. The interviewer should secure a release form, by which the narrator transfers his or her rights to
the interview to the repository or designated body, signed after each recording session or at the
end of the last interview with the narrator.
.
Post Interview
1. Interviewers, sponsoring institutions, and institutions charged with the preservation of oral
history interviews should understand that appropriate care and storage of original recordings
begins immediately after their creation.
2. Interviewers should document their preparation and methods, including the circumstances of
the interviews and provide that information to whatever repository will be preserving and
providing access to the interview.
3. Information deemed relevant for the interpretation of the oral history by future users, such as
photographs, documents, or other records should be collected, and archivists should make clear to
users the availability and connection of these materials to the recorded interview.
4. The recordings of the interviews should be stored, processed, refreshed and accessed according
to established archival standards designated for the media format used. Whenever possible, all
efforts should be made to preserve electronic files in formats that are cross platform and
nonproprietary. Finally, the obsolescence of all media formats should be assumed and planned for.
5. In order to augment the accessibility of the interview, repositories should make transcriptions,
indexes, time tags, detailed descriptions or other written guides to the contents.
6. Institutions charged with the preservation and access of oral history interviews should honor the
stipulations of prior agreements made with the interviewers or sponsoring institutions including
restrictions on access and methods of distribution.
7. The repository should comply to the extent to which it is aware with the letter and spirit of the
interviewee’s agreement with the interviewer and sponsoring institution. If written documentation
such as consent and release forms does not exist then the institution should make a good faith effort
to contact interviewees regarding their intent. When media become available that did not exist at
the time of the interview, those working with oral history should carefully assess the applicability
of the release to the new formats and proceed—or not—accordingly.
8. All those who use oral history interviews should strive for intellectual honesty and the best
application of the skills of their discipline. They should avoid stereotypes, misrepresentations, and
manipulations of the narrator’s words. This includes foremost striving to retain the integrity of the
narrator’s perspective, recognizing the subjectivity of the interview, and interpreting and
contextualizing the narrative according to the professional standards of the applicable scholarly
disciplines. Finally, if a project deals with community history, the interviewer should be sensitive
to the community, taking care not to reinforce thoughtless stereotypes. Interviewers should strive
to make the interviews accessible to the community and where appropriate to include
representatives of the community in public programs or presentations of the oral history material.

APPENDIX 2: INTERVIEWING GUIDE I

(http://www.library.ucla.edu/destination/center-oral-history-research/resources/interviewing-
guidelines)

Oral History Interviewing Guidelines

An oral history interview is not about the interviewer. The focus should be on the interviewee and
they should do most of the talking, with occasional questions from you to guide the interview in
directions you think are the most productive.

In general, a chronological organization is usually the best structure for an oral history interview.
It allows the interviewee to show how their experience and ideas developed over time, gives depth
and richness to the topics being discussed, and offers a convenient organizing structure so that
interviewer and interviewee do not simply drift in a welter of random reminiscences. Since
memory does not follow a strict chronology, however, inevitably the interviewee will jump around
a good deal in time. That jumping around is important and shows how they connects different areas
of their experience, and you do not want to discourage it entirely. On the other hand, if they jump
around too much, the chronological thread of the interview will be lost entirely. Sometimes you
will decide that it is productive to have them leap to another time to illuminate the point they are
making. In other instances, you may feel they are ranging too far afield and will want to indicate
that, although you do want to hear what they have to say, right now you want to bring them back
to the time period you were discussing.

Open up a new topic with a large, open-ended question that allows the interviewee to describe
their experience at length. Questions that begin "Tell me about..." or "Can you describe..." are
good ways of stimulating the interviewee's memory and allowing them to generate their own story
rather than simply responding to the predetermined forms that you lay out. In general, think of the
various topics of your interview as being structured like an inverted pyramid: broad, general
questions first, followed by follow-up questions that ask for more detail.

Once an interviewee has finished answering a question, be ready to come in with follow-up
questions for greater detail, context, clarification, evaluations, etc. Much of your role as
interviewer is to be alert to what the interviewee does not say and to help them expand their story
so that it is more meaningful for you and for future researchers.

Remember that what you are after is the story of the interviewee's experience, not just facts or
opinions. Try to get the specifics of their lived experience before you ask them to evaluate that
experience or to offer analysis. In this connection, too, always ask interviewees to speak in terms
of their concrete experience and not simply about what they think people in general felt or did.

Once the interviewee begins talking, the general rule is don't interrupt. Interruptions disrupt the
flow of their narrative, break their concentration, and mean you may never get to hear the rest of
what they had to say. Wait until they complete their story or train of thought to ask a follow-up
question or introduce a new topic. With exceptionally long-winded or rambling interviewees, you
may need to learn to jump in very quickly and firmly when a story is completed and may also need
to set expectations at the beginning of each interview session about how much of the material on
your outline you would like to cover that day.

Questions should be concise and focused. Try to be as precise as possible about what you want to
know and ask only one question at a time. (Like most oral history skills, this takes a good deal of
practice.)
Don't expect interviewees to read your mind. To avoid having the questions feel choppy and
disconnected, clearly indicate shifts in direction or how one question relates to another. ("We've
talked about X, but now I'd like to move on to..." "I'd like to follow up on something you said
previously....:)

Yes-or-no questions are useful when you need to clarify a specific detail but should otherwise be
avoided because they do not generate the rich, full answers that open-ended questions do.
Similarly, avoid questions that are leading ("Don't you think that...") or either/or questions that
allow for only a couple of options. Such questions foreclose opportunities to hear the interviewee's
own thoughts on an issue, which may be very different than the options you might suggest.

Don't start the interview off with highly personal or sensitive questions. As the interviewee
becomes more relaxed with the interview situation and with you as an interviewer, they will
invariably open up more and will often be willing to discuss issues they would not have been
willing to discuss at the beginning of the interview.

Part of your role as interviewer is to challenge the interviewee when necessary. If you know there
is more to a story than they are telling or if they seem to be glossing over negative aspects, you
should politely but firmly challenge them. This can generally be done in ways that do not
antagonize if you maintain a neutral stance and simply ask them to explain facts that you know
that do not fit with their interpretation or call attention to other ways of perceiving the situation.
Such challenges often appear less confrontational if you do not indicate that you personally
disagree with them but refer to other sources that do or, in a more general way, to "criticisms at
the time" or to "arguments I have heard."

Compiled by the UCLA Center for Oral History Research, 2014.

APPENDIX 3: INTERVIEWING GUIDE II

(https://folklife.si.edu/the-smithsonian-folklife-and-oral-history-interviewing-guide/smithsonian)

The Interview
The memories, stories, and traditions of the people you interview grow out of firsthand knowledge
and experience. Created and shaped in community life, they are continually being adapted and
changed to meet new circumstances and needs. When interviewing members of your family or
local community, be sure to seek out not only what they can tell you about the past, but what they
can tell you about life in the present.
Whenever possible, ask the tradition-bearer you are interviewing for stories and anecdotes about
the topic you are interested in. Stories are important sources of information for the community
researcher — they encapsulate attitudes and beliefs, wisdom and knowledge that lie at the heart of
a person's identity and experience.

Remember that the stories and memories you collect are valuable not necessarily because they
represent historical facts, but because they embody human truths — a particular way of looking at
the world. As Ann Banks writes in First Person America, "The way people make sense of their
lives, the web of meaning and identity they weave for themselves, has a significance and
importance of its own." The stories people tell, and the cultural traditions they preserve, speak
volumes about what they value and how they bring meaning to their lives and to the lives of those
around them.

Every interview that you do will be unique. We hope the advice and suggestions offered here will
help you on your journey of cultural discovery.

Getting Started
What is the goal of your research? What are you curious about? What do you want to find out? Do
you want to learn about a special celebration in your community? Document traditional customs
in your family? Find out what it was like when your mother was growing up? The best way to
begin is to decide on the focus of your interview. This will determine whom you choose to
interview and what sorts of questions you ask. Having a clearly defined goal is key to conducting
a successful interview.

Once you’ve determined the focus of your interview, then what? Whom should you interview first?
You might want to begin by thinking about yourself and your own interests. What sorts of
questions would you like someone to ask you? What kind of responses do you think they would
elicit? This will help you prepare for the interview experience. If possible, try to conduct your first
interview with someone with whom you feel very comfortable, such as a close relative or a
neighbor you know well. Over the course of the interview, you’ll probably pick up clues to other
sources: “ Aunt Judith can really tell some stories about those days,” or “ You should ask Antonio
Martinez — he’s the real master.”

What if you don’t already know someone to interview about the topic you are interested in? The
best way to find people is by asking other people. Chances are you know someone who knows just
the person you’re looking for! Friends, neighbors, relatives, teachers, librarians, folklorists, and
local historians can all help point you in the right direction. Local newspapers, community bulletin
boards, and senior citizen centers are also good sources of information.

The interview should take place in a relaxed and comfortable atmosphere. The home of the person
you are interviewing is usually the best place, but there may also be other settings that would be
appropriate, such as your tradition-bearer’s workplace, a church hall, or a community center.
Productive interviews can sometimes take place at regularly occurring events, such as family
dinners, holiday celebrations, and work gatherings. These are often the occasions when stories are
told and traditional customs observed.
Equipment
An important first step in conducting an interview is to consider the equipment you will need.
Audio recording and note-taking are the most common means of documenting folklife and oral
history. In most situations, audio recording is preferable, as it allows you to document your
tradition-bearer’s stories and experiences completely and accurately, as well as capture the
inflections, tone, pauses, and other subtleties of performance.

At first, the people you interview might feel a little uncomfortable with a digital recorder, but after
the interview gets going, chances are they’ll forget that it is even there! Always keep a pen and
paper with you during a recorded interview, so you can note important points or jot down follow-
up questions that come to mind while your traditionbearer is speaking.

Portable digital recorders are helpful when conducting interviews because of their compatibility
with today’s technology. Flash memory recorders are the primary media type and resemble normal
SD cards found in digital cameras. They are easy to upload on any computer and provide higher
quality recording settings. Other types of digital recording devices include Hard Disc Drive (HDD)
Recorders, which offer longer recording time, and Compact Disc (CD) Recorders, which are
slightly slower than HDD Recorders and are limited to roughly 90 minutes of recording time.
Today, most smart phones also come with easy recording (and photo-video) options, just be sure
that your phone is fully charged before heading off for the interview!

Practice using the recorder before your interview, so that you are familiar with how it works. If
you are at ease with your equipment, it will help to put your traditionbearer at ease too.

Another important piece of equipment is a camera. It allows you to capture a visual record of the
person you are interviewing and is especially valuable if you are documenting a process, such as
your grandmother stitching a quilt or making a favorite family recipe. A camera can also be used
to take picture of old family photographs and other documentary materials, such as letters, birth
records, and scrapbooks.

You should take notes on the subject matter, date, and location of your photographs, so that you
can prepare a photo log of the photos you’ve taken.

You may also want to use a video-recording device to capture a special community event or to
visually record a traditional process or a family member recounting his or her life story.

Before the Interview

Get your tradition-bearer’s permission for the interview in advance, and schedule a time and place
that he or she is comfortable with. Make it clear if you plan to use a recorder (see the above
discussion of equipment) and ask permission.

Be certain from the start that your tradition-bearer understands the purpose of the interview, and
what will happen to the recordings and/or notes afterwards. Is it a school assignment? Are you
planning to write a family history? Organize an exhibition? Publish a newsletter about folklife in
your area? Are the materials going to be kept with family scrapbooks? Will they be deposited in a
local library, archive, or historical society? Let the person you are interviewing know.

Do your homework. It’s always a good idea to conduct some background research about the subject
you are interested in at the library, on the Internet, or by visiting a museum or archive. Books,
pamphlets, photographs, maps, family documents — any or all of these can help give you
information on your subject before you go on an interview. Knowing more can help you ask better
questions and yields a richer interview.

Prepare a list of questions ahead of time. Make sure they are clear, concise, and open-ended. Avoid
questions that elicit simple yes or no answers and steer away from broad generalities. Questions
that begin with “ How ” “ What ” or “ Why ” usually elicit a more complete response than questions
that begin with “ Do ” or “ Did. ” For example, “How did you learn your trade? ” or “ What was
it like learning your trade? ” instead of “ Did you like learning your trade? ”

Know which questions are key, but don’t be tied to your list. The questions are meant simply to
help focus and guide the interview.

Structure the interview. Think of the interview as a story with a beginning, middle, and end. Build
on your questions and link them together in a logical way.

During the Interview

Take a little time at the beginning to introduce yourself and establish rapport — a feeling of
comfort and connectedness — with the person you are interviewing. Discuss the purpose of the
interview and describe the nature of your project.

Place the recorder within easy reach so that you can adjust the controls when necessary, and
position the microphone so that you can clearly record both your tradition-bearer’s voice and your
own.

Try to eliminate or minimize any loud background noises, such as the radio or television, that
could interfere with the recording. You’d be surprised just how distracting a loudticking clock or
clattering dishes can be!

Always run a test before you begin an interview. Record about a minute of conversation and then
play it back to make sure you are recording properly and getting the best possible sound. A good
procedure is to state your name, your tradition- bearer’s name, and the date, location, and topic of
the interview. This serves both to test the equipment and to orally “ label ” the recording. When
you are confident that all your equipment is in good working order, you are ready to begin.

Start with a question or a topic that will help put your tradition-bearer at ease. You might want to
begin with some basic biographical questions, such as “ Where were you born?” “Where did you
grow up?” Or perhaps you could ask about a story you once heard him or her tell about the topic
you are interested in. These questions are easy to answer and can help break the ice. Remember to
avoid questions that will bring only a yes or no response. And, in order to get as much specific
information as possible, be sure to ask follow-up questions: “ Could you explain?” “ Can you give
me an example?” or “ How did that happen?”

Show interest and listen carefully to what your traditionbearer is saying. Keep eye contact and
encourage him or her with nods and smiles.

Participate in the conversation without dominating it. Try not to interrupt and don’t be afraid of
silences — give the person you are interviewing time to think and respond. Be alert to what your
tradition-bearer wants to talk about and be prepared to detour from your list of questions if he or
she takes up a rich subject you hadn’t even thought of!

Make use of visual materials whenever possible. Old photographs, family photo albums,
scrapbooks, letters, birth certificates, family Bibles, tools, heirlooms, and mementos help stimulate
memories and trigger stories.

Don’t turn the recorder on and off while the interview is in progress. Not only are you likely to
miss important information, but you will give your tradition-bearer the impression that you think
some of what he or she is saying isn’t worth recording. Never run the recorder without your
tradition-bearer’s knowledge.

Make sure the sidebar comment about the “sample written release” stays in a spot that’s close to
the text about this. With the deletion of the above couple of sentences, things might get thrown out
of whack!

Near the end of the interview, take a quick look over your prepared list of questions to see if you’ve
covered everything you wanted to ask.

Be sensitive to the needs of your tradition-bearer. If he or she is getting tired, stop the interview
and schedule another session. Between one and two hours is usually just about the right amount of
time for an interview.

After the Interview

Make sure that you get the person you interviewed to sign a written release and that you comply
with any restrictions that he or she requests. Always ask permission to use the results of the
interview in the ways you initially told your tradition-bearer, such as to write a family history or
do a school project. Don’t make promises you can’t keep, and respect confidences and privacy.
Label your digital files clearly with the name of the person you interviewed and the date.

Make notes about the interview while it is still fresh in your mind — jot down impressions,
observations, important themes, contextual information, ideas for follow-up.

Prepare an audio log (topic-by-topic summary) of the contents of the recordings as soon as
possible after the interview. You can use the counter on the recorder to note the location of each
new topic. With this log, you will later be able to go back and select portions of the recording to
listen to and transcribe (word-for-word translation of the recorded interview). Complete
 transcriptions are important, but they are also very time-consuming. A good compromise is to do
a combination of logging and transcribing: log the general contents of the recording and transcribe,
word for word, the parts that you think you might want to quote directly.

Save your files in an organized manner so that they will be easily accessible.

Be sure to send a thank note you to your tradition-bearer and, if possible, include a copy of the
recording(s).

APPENDIX 4: INTERVIEWING GUIDE IV

(http://www.mnhs.org/collections/oralhistory/ohguidelines.pdf)

MINNESOTA HISTORICAL SOCIETY ORAL HISTORY OFFICE PUTTING TOGETHER

AN ORAL HISTORY PROJECT: OVERALL GUIDELINES

1. Identify your narrator—who can tell interesting stories, who has lived through a unique time
period, who can document an era for which little other information exists? Make sure this person
is in reasonable health for their age, with a good memory and has, preferably, an enjoyment of
conversation. 2. Obtain consent—be sure the narrator understands why this interview is important
and what your plans are once the interview is completed. Make the interview as professional as
possible by scheduling an unhurried, private appointment with your narrator. 3. Before the
interview, test your recorder and sound level. Become comfortable with the equipment—be able
to locate and use the buttons with ease. It is better to rely on electricity rather than batteries. Pack
an extension cord. Be sure to bring more cassette tapes than you think you could possibly need. 4.
Put a blank cassette in the machine before the interview. Record an introduction, “This is John
Doe interviewing my grandmother, Mary Smith, on May 2, 1999. The interview is taking place at
Mrs. Smith's home in Saint Paul at 2000 Montrose Street.” 5. Prepare and take with you a general
list of questions or topics that cover the research area as thoroughly as possible. Be sure that you
have done enough research to ask intelligent, probing questions. You should also be familiar with
names and terms that are a part of your narrator’s area of expertise. [See Attachments I and II.] 6.
If possible, use “memory cues”—particularly if this is an elderly narrator. These would include
scrapbooks, heirlooms, and old photos. 7. At the time of the interview, be sure to explain again
why you are interviewing this person. Make the narrator as relaxed as possible—have him or her
sit in a favorite chair. Situate the recorder in a comfortable location so that you can monitor the
sound levels and the amount of tape remaining. Eliminate distractions—mute the phone, put the
dog outside, banish the relatives. 8. Begin with simple questions, such as those relating to the
narrator’s background. Cover 2 the material chronologically wherever possible, as this is the way
most people best remember events. Go through your list of topics, without interrupting the narrator
or disturbing the flow of the interview. As new questions or areas of interest emerge, jot them
down for follow-up. [See Attachment III.] 9. Listen carefully, and be prepared to ask follow-up
questions when necessary. Be especially alert to the shorthand many people use in conversation.
Use follow-up questions to clarify the identity of people mentioned only by first name, for instance.
10. After the interview, be sure to review the spellings of names and places that the narrator has
mentioned. Jot down any information regarding photographs or other materials that your narrator
has identified during the interview, and double-check any dates or biographical information that
the narrator has discussed. If possible, take a photo of your narrator. 11. Carefully explain the
importance of a signed donor agreement form. [See Attachments IV and V.] Make sure the narrator
signs the original and receives a copy for his or her own records. 12. Remove the plastic tabs on
the top of the cassette to prevent accidental erasure. Label the cassette and cassette case with the
narrator’s name, the interviewer’s name, and the date of the interview. Be sure to make a duplicate
copy of the interview and store the original interview tape in a safe, climate-controlled location.
13. Fill out the inventory sheet with biographical and interview information. [See Attachment VI.]
14. Send a thank-you note to the narrator. 15. Consider whether the interview should be transcribed
and who will do the work— yourself, a volunteer, a secretarial service, or a professional oral
history transcriber? Also, decide whether the narrator should have an opportunity to review the
transcript. Be prepared to audit, edit and proofread the transcript. 16. Think about potential uses
for your finished interview—such as to accompany photos, to provide background for a genealogy
or community history project, in a publication, etc. Consider how you could tap into publicity
sources to maximize awareness about your project. Also, if you are unaffiliated with an institution,
you may want to evaluate the possibility of depositing your interviews in a public repository. [See
Attachments VII and VIII for a list of ethical guidelines and bibliographical sources.]

MINNESOTA HISTORICAL SOCIETY ORAL HISTORY OFFICE

Attachment III ORAL HISTORY INTERVIEW TIPS
1. An interview is not a dialogue. You are there to record someone else’s experiences, not to talk
about yourself. The whole point of the interview is to make sure the narrator tells his or her own
story. Limit your own remarks to some small talk to make the narrator comfortable, and then
prompt him or her with questions to guide the reminiscences. “I understand you emigrated from
Sweden. What were your reasons for leaving?” And later, “What specific details can you tell me
about the trip—for example, how long did it take?” 2. Ask questions which require more than a
“yes” or “no” answer. Start questions with “why,” “how,” “where,” “what,” and “when.” Instead
of asking, “Was Miss Smith a good teacher?” ask, “What did the students think about Miss Smith’s
teaching ability?” 3. Ask one question at a time. Sometimes an interviewer asks a series of
questions all at once. The narrator usually ends up only answering the first question, and the
information that would have been supplied in answering the other questions is lost. 4. Ask brief
questions. Most narrators will quickly grasp the kind of information you are seeking. 5. Start with
non-controversial questions. Save the more delicate questions for when you and your narrator are
better acquainted. A good place to begin is usually to ask about the narrator’s childhood and
education. 6. Don’t let periods of silence fluster you. Give the narrator an opportunity to add
comments before you rush him or her off in another direction. Relax and jot down a few notes
while your narrator regroups. 7. Don’t worry if your questions are not as beautifully phrased as
you would like. When you fumble somewhat with your questions, the narrator realizes that you do
not expect him or her to give perfectly composed responses. Be as natural as possible. 8. Listen
quietly and carefully and actively. Encourage the narrator with an occasional smile or nod. Do not
say things like “yes,” “uh-huh,” and “really” repeatedly. Don’t look bored or disinterested.
Maintaining eye contact is vital. 9. Don’t interrupt a good story just because you have thought of
a question or because the narrator is straying from your planned outline. Jot down your question
for later. Be on your toes and remember that your list of questions is only a guide, not a rigid plan.
Be 2 ready to ask further questions when your narrator offers unexpected information. 10. If your
narrator does ramble, wait for a pause and try to pull him or her back to the subject at hand. “That’s
very interesting. Now before we continue, I would like to find out more about how the Great
Depression affected your family.” 11. It is often difficult for the narrator to describe a person. An
easy way to begin is to ask him or her to describe that person’s appearance. The narrator is then
more likely to move into a description of the person’s character and personality traits. Ask the
narrator to be specific and to elaborate on his or her comments. Encourage lengthy descriptions
where appropriate. 12. Try to establish your narrator’s role at important points in the story. “So
where were you during the blizzard?” “When did you realize that your life was in danger?” This
will establish how much of the narrative is based on eyewitness testimony and how much is based
on secondhand information. 13. Do not challenge accounts that you think are inaccurate. Instead,
try to develop as much information as possible, which can be used by later researchers to establish
what really did happen. As Walter Lord, who interviewed survivors of the Titanic, has said, “Every
lady I interviewed said she left the sinking ship in the last lifeboat. As I later found out from
studying the placement of the lifeboats, no group of lifeboats was in view of the other. Each lady
probably was in the last lifeboat she could see as she left the ship.” 14. Tactfully point out to your
narrator where his or her account differs from that of others. Start out by saying, “I have heard...”
or “I have read...” This does not challenge the narrator’s account, but rather suggests ways to
clarify other stories already in existence. Often the best interview research material comes from a
narrator who differs from other sources. 15. Avoid “off the record” information, where your
narrator asks you to turn off the tape recorder to tell you a story. When the recorder is off, the
information being told is immediately lost to anyone but yourself. It is likely that even you will
lose much of the flavor of what is being shared. In addition, once you start turning off the recorder
when asked, the narrator will fall into this habit of censoring his or her responses. 16. Interviews
work best when it is just the two of you—the narrator and the interviewer. If there is another person
in the room with stories to contribute, tactfully ask whether you can interview this person
separately at another time. Another good tactic is to thank this third person for being in the another
room to intercept the phone and the doorbell, thus contributing to the sound quality of the
interview. 17. Do end the interview at a reasonable time. An hour and a half to two hours is usually
the maximum. By that time, both the interviewer and the narrator are fatigued. Smile, thank 3 the
narrator profusely, and arrange for another appointment time, if necessary. 18. Be sure to review
the tape afterwards. Even the most experienced interviewer will spot missed opportunities or things
he or she might have done differently. Use what you’ve learned to make your next interview that
much better. When reviewing the tape, remember that there is no such thing as a perfect interview.
Don’t be discouraged by awkward questions or repetition, or if your narrator jumps from one topic
to another. This is how people often recall things. Try to think of the taped interview as raw
material. Finally, remember that: GOOD INTERVIEWERS DON'T SHINE, ONLY THEIR
INTERVIEWS DO.