Participatory historical geography

I am a scholar, writer, and geographer working with communities to make our past meaningful in the present, and intervening to preserve our past on behalf of our future. Over decades of research, collaboration, and publishing I have developed expertise particularly in the areas of ghost towns, the “Ramona Myth” in southern California, and how neon signs transformed the American landscape and shape our communities.

Dydia DeLyser: scholar, writer, Geographer

Landscape and social memory

My research and approach to understanding the world around us are grounded in the traditions of cultural geography, particularly that of interpreting ordinary landscapes. Here my chief interest is in social memory—how the past is made meaningful in the present.

I’ve explored that in different parts of California and the American West, including (here, at left) in the gold-mining ghost town of Bodie where abandoned buildings, preserved in a state of “arrested decay” (they’re kept standing but allowed to keep looking like they’re falling down) encourage visitors to imagine what life might have been like in the “rough and rowdy” says of Bodie’s 19th-century boom and subsequent bust.

I worked in Bodie State Historic Park for ten summers arresting decay and cleaning public toilets. I’ve been a volunteer there (doing the same work) for more than twenty-five years. As president of the Bodie Foundation I help raise money for stabilization, and share my research insights about the importance of Bodie’s model of preservation with staff and the public.

Scroll down for detail on this work, and for more examples of my other projects.


DYDIA DELYSER: SCHOLAR, WRITER, GEOGRAPHER

Ordinary landscapes create meaningful memories

People do important things in ordinary places. There we create memories that begin as individual and personal. Because we all live our lives in cultural contexts, we then link those memories to broader cultural ideas and social memories, connecting us to people who came before us, and to important themes in “American” identity.

The couple at right are locked in an intimate embrace in front of a neon sign indicating they’re at a motel — for the night! This is not just a date, it’s an elopement or a wedding. And they’re celebrating that at a roadside motel, perhaps as part of a road-trip honeymoon to visit important American landmarks. The photo, taken with the neon sign as symbol of what happened that night, will fix this trip in their past, as well as in their future.

Scroll down for more examples of my research in and with different communities.

Photograph: Collection of Dydia DeLyser

DYDIA DELYSER: LIVING GEOGRAPHY

Collecting, preserving, and restoring—intervening to share the past with the future

Many things slip through the cracks of ordinary archives and mainstream museum collections. Often these are things taken for granted, objects used in everyday life, things not yet considered antique, and perhaps even objects deemed unworthy of attention. My research values such objects by collecting, preserving, and restoring them myself—and then using them in my research, living with them in my life, and sharing them with the public.

For example, though historic traces are known to favor people in positions of power and wealth, my research has sought to bring to light traces of the lives of people more ordinary. Like tourists. Building an extensive collection of historic tourist souvenirs related to the 1884 novel Ramona (below) has enabled me to shed light on how the novel became meaningful in the lives of people now dead, at tourist attractions now extinct.

Souvenirs are difficult to study because, once they are purchased, they become geographically dispersed. Yet many of us buy, give, and live with souvenirs of all kinds. Once those souvenirs arrive home we often use them along with other objects of everyday life, yet they always retain the imprint and the memory of the place from which they came.

At left, a small portion of my collection of ornate sterling silver souvenir teaspoons, all related to “Ramona’s Marriage Place,” one of the most popular tourist attractions in southern California in the early-twentieth century. All are different, and some are personalized with dates and initials, commemorating a journey to a place made familiar in fiction, and made real in the landscape.

Below, the “curio shop” at Ramona’s Marriage Place sold an unimaginable array of souvenirs. The photo shows a small fraction of my collection, and I’m still buying more anytime I can find them. Many are joyfully ridiculous, as souvenirs often are.

See items from my collection on display in San Diego’s Old Town State Historic Park at Casa de Estudillo in a permanent exhibit entitled “The Novel that Saved This House,” and, until June 2025, at Los Angeles’s Autry Museum of the American West’s in a temporary exhibit entitled “Reclaiming El Camino: Native Resistance in the Missions and Beyond.”

Scroll down for more examples of things I collect, preserve and restore.

Objects at left and below: Collection of Dydia DeLyser

DYDIA DELYSER: LIVING GEOGRAPHY

Not all artifacts of the past survive into the present unscathed by their life experiences. Most see age and wear. And they will need maintenance and repair. To be able to use them for their original purposes, in the present and in the future, they may even need restoration—they may need to be returned to their original state by active intervention.

LEFT: My research, working collaboratively with my husband Paul Greenstein, has shown how restoration of historic objects is not only process requiring vast historical knowledge and technical skill, but also a labor-intensive practice of love and devotion. We are devoted to the things we have restored, like this 1939 Indian Jr. Scout, built from parts that had never met one another before to become a running motorcycle.

Scroll down for stories of other restoration projects and how restoration reveals the that things have biographies. Biographies that tie them to people, and to geographies.

Photograph at left by Evan Klein. Thank you, Evan!

BELOW: Neon signs have been a formative part of the American landscape for a century, yet most of us don’t think twice about them. Though bright, they may become part of the taken-for-granted ordinary landscape. Nevertheless, every neon sign works spatially (geographically): they draw people towards them, and create community beneath their light.

To illustrate this I have collected hundreds of historic snapshots of anonymous Americans with neon signs. These reveal how we are drawn to neon signs marking ordinary-but-meaningful places — like cafés, motels, and gas stations — all across the country, and how we there share important experiences beneath neon’s glow.

Photograph below: Collection of Dydia DeLyser

DYDIA DELYSER: LIVING GEOGRAPHY

Qualitative research and auto- ethnography

My research is grounded in qualitative methods, including interviewing, participant observation, fine-grained archival research, and autoethnogrpahy—ethnography through one’s own experiences. For me, this means I am immersed in and indeed part of the communities where my research finds place. That’s true for me whether those are communities of the present or of the past.

Scroll down for examples of my participatory and autoethnographic work with different communities.

Photograph by Forest Casey. Thank you, Forest!

Flying, early women pilots, and participatory historical geography

I began flying gliders in the late 1980s, and expanded to airplanes with engines by the late 1990s. Flying, for me, was immediately exhilarating and empowering. And yet it also drew my attention sharply to many, often very small experiences of gender stereotyping and discrimination — far more than on the ground or in the rest of my life, other people (pilots and non-pilots) were treating me differently because I was a woman.

When I read autobiographies of some of the women who pioneered aviation in the 1920s, they wrote about the same things. Their experiences were (far) more extreme, yet the same things were happening to me, all those decades later. I felt connected to their lives, and their experiences. I felt continuity among women pilots across time.

I had joined “The 99s,” the international association of women pilots, founded in 1929 by all 99 women then licensed to fly, and began to volunteer with the organization. I started a research project on early women pilots, and volunteered to help organize the collections of the 99’s Museum of Women Pilots (in Oklahoma City), and I earned election to their international Board of Trustees. I saw how I could begin to lend my expertise as a researcher and archivist, as well as my academic experience with administration and running meetings to the organization. The goals of those 99 women were clear: opening doors for women in aviation, and forwarding aviation for everyone. Because those were still the organization’s goals, and I was actively forwarding them, I began to conceptualize my work as what I called “participatory historical geography.”

I sought to make my scholarship more public than academic books and journal articles (typically hidden for most folks behind paywalls), and collaborated as a researcher and Executive Producer on the documentary film “The Legend of Pancho Barnes and the Happy Bottom Riding Club.” We won a 2011 LA Area Emmy Award, and the film screened on PBS stations across the country.

For about a decade, while I lived in Baton Rouge, Louisiana I co-owned a Citabria—a small, nimble aerobatic airplane that lit up my world and offered inverted relief from the academic pressures of “publish or perish.”

Photo at left by Mike Harbison. Thanks, Mike!

Photo below by John Hanks. Thanks, Colonel Hanks!






DYDIA DELYSER: SCHOLAR, WRITER, GEOGRAPHER

Living geography: public-and-engaged scholarship

My work represents efforts at public-and-engaged scholarship (PES) where my research is grounded in community, and where my work is often done collaboratively with the communities I work in, with, and for. This means that the scholarly outputs of my work (in books, journal articles, and book chapters) are only a small portion of what I do.

My PES work is advocacy scholarship where I labor to forward agendas of my community. I do this in part by serving on non-profit boards, by volunteering for non-profit organizations, and by leading specialized efforts with the people, organizations, and communities I work with.

Scroll down for examples of how my life, research, and community work interweave through different projects with which I have long-term commitments.

At the Museum of Neon Art, Glendale, California.

Photograph by Vladimir Cettl. Thank you, Lada.

I collaborate with others to preserve and restore America’s historic neon signs—before it’s too late.

I volunteer in Bodie State Historic Park, and share my research with staff and volunteers.

I share my research with historical societies and other organizations whenever asked. The answer is always Yes.

I serve on several non-profit boards, including:

Neon: A Light History

ABOUT THE BOOK:

Is it possible that (once again) everything we know is wrong? Well, in regards to the history of neon, this may well be the case. Dydia DeLyser and Paul Greenstein have penned a brief, but concise history of the neon sign beginning at the beginning, and covering scandals, murder, fascists, and forgotten inventors. A full-color, lavishly illustrated electrical bodice ripper, aficionados of neon will find this an indispensable “bible” to the history of their favorite collision of art and commerce.

Since the late nineteenth century neon signs have inspired devotion and derision, drawing people to them and transforming the American landscape in the process. In Neon: A Light History Dydia DeLyser and Paul Greenstein unite the approaches of scholar and signmaker in the first book to detail neon’s rich history and geography from the inside. Lavishly illustrated and invitingly designed, this short book’s compellingly written expert analysis dispels long-held myths and misunderstandings about the inventors and technologies, the art and commerce, and the cities and communities that have made neon signs such iconic parts of the American landscape.

Revealing neon signs as active agents in sweeping cultural, economic, and political changes nationwide, DeLyser and Greenstein introduce readers to inventors and “tube benders,” business owners and customers, politicians and passersby, sign detractors and sign afficionados, architects and restoration specialists—a compelling cast of characters, many of whom, they show, continue to keep neon vibrant today. Taking readers inside the signs themselves, the authors show how each sign, whether historic or contemporary, is made by skilled hands—today just as they were over one hundred years ago.

Drawing from over a decade of in-depth archival and ethnographic research as well as more than four decades of experience in the sign industry, DeLyser and Greenstein use Los Angeles—not New York or Las Vegas—as focal point, showing how neon signs have catalyzed urban change, and how they continue to hold appeal for our changing communities—developing with the automobile and car-and-consumer culture in the twentieth century, expanding from cities to towns, and along highways to remote roadside outposts. From the earliest luminous tubing in the 1890s to the artistic creations of today, from community-funded restorations of historic signs to ordinary-seeming business signs that have become community icons, DeLyser and Greenstein show how, just as neon signs lit our past, they can now light our shared future.

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Cover designs by Randall Ann Homan. Thank you, Randall!

Breast cancer

I am a two-time breast-cancer survivor and I have been fortunate.

Because my cancer was detected early, I am alive to flourish.

I urge every woman to seek breast-cancer screening, early and regularly.

Possibly that means you and it may mean now. Please don’t delay.

Cost should never be an issue.

Consider following this link from the National Breast Cancer Foundation to find free mammography near you: https://www.nationalbreastcancer.org/national-mammography-program/

If you live in California, consider this website to find free mammography (and cervical-cancer-screening services): https://www.dhcs.ca.gov/services/Cancer/ewc/Pages/default.aspx