New Volunteer Training

GHM volunteers serve in many different ways; all of us, however, should make greeting guests and meeting their needs our first priority.

I'm the director, David Lovegrove. If you don't have my cell phone number, ask and I'll be happy to share it! Reach out any time you have a question or need help. Sometimes I can’t take a phone call but I can always take a text; please reach out! It’s never a bother.

Volunteer Hours

You choose how often you want to volunteer at the museum. There is a need for substitutes as well as people who choose a regular schedule, such as once a week or once a month.

It is important to call the volunteer coordinator as soon as possible if there is a schedule change for you. In case of illness, call as early as possible.

Parking

There are two public lots: across the street by the restaurant, and around the corner by the fire station. We prefer our staff use the Century 3 back lot (which guests are also welcome to use, but it's hard to explain and getting harder to find a spot). The two spaces at the Police Station can be used for loading/unloading but must be quickly vacated. In no case should the driveway on the other side of the building be used for any purpose.

Handicap access

Wheelchair access is to the right of the building beside the Police Station. There is a ramp at the rear. Persons using this door will ring a doorbell.

The Museum

The Museum is a 501(c)3 non-profit organization, run by a board of directors. For now, it operates entirely as a  volunteer effort. The Museum is funded through donations; in the next months we hope to substantially increase income from grants. Admission is always free, though we occasionally charge for special events.

The Building

Please become familiar with the building. Familiarize yourself with the location of fire extinguishers.

Climate control: Artifacts need steady temperature and humidity. We keep the temperature set on 70 degrees; a touch cool for some people, but good for our collection. If you open the building and find it off temperature — either too hot or too cold — contact the director immediately.

Restrooms: The main restrooms are in the back hall. There is a restroom off the library that can be used, but the sink has a leak. The urinal in the men's restroom needs to have the flush handle held down about 20 seconds every few days, to prevent bad smells.

Water: there is no water fountain. If someone really needs water, there are bottles in the refrigerator.

Special features of the building: This was built in 1935 as a Post Office. Though often said to have been built by the WPA (Works Project Administration, a Roosevelt Depression-era program), it was actually built by the Treasury Department. A WPA artist painted the mural. The cornerstone gives the date & architect if someone asks. It was a Post Office from 1935-1964; then City Hall 1968-2008; and then GHM 2008–present.

• Cherokee mortar outside
• Original terrazzo flooring in the lobby; original maple flooring elsewhere.
• Original Mural, 1940-41: information on sign
• Skylight and original shade (though the glass is now boarded over)
• Civil Service bulletin boards for postal workers information
• Front service unit came from the 1927-1935 post office on Trade Street (now Blue Ridge Brewery; Price’s Feed & Seed for old-timers)

Library: Postmaster’s office, later the Mayor’s Office

Basement: There is a basement, but it is not in usable condition. Do not allow visitors to go downstairs, and volunteers should not go downstairs without an approved purpose.

Secret passages and postal inspector’s observation point: Perhaps the most interesting part of this building is that it has a secret passage built into the walls to provide lookout spy holes for the postal inspector. A primary viewing platform is behind the wall above the safe. Unfortunately, these passages are not safe at all and we do not allow visitors in them. You may choose to let people go to the landing behind the postmaster's restroom — use good judgment on who, stay with them, and do not allow them to go up or down.

OPENING PROCEDURES

1. If you are assigned to open, use the key from the key box. Disarm the alarm using the code you were assigned in training.
2. Turn on lights. The main gallery light switches are in the front seating area, behind the flag. The switch for the left galleries is inside the door to the left. Turn on the lights in the library, side theater room, the safe, and the restroom hallway. Turn on the Dark Corner exhibit using the round white button behind the still.
3. Unlock the second front door, using the small flip-lock on the inside edge near the bottom (there’s a matching top lock that we usually don’t flip).
4. Put out the flags (American on the right as you exit—it appears on the left when looking from the street) and put the “open” sign down on the sidewalk beside the street. If the sign is too heavy or awkwardly sized for you, please stay safe and don’t risk it.
5. In the back hall, check the answering machine for messages. Answer ones that you can, or leave for the director.
6. Keep the back office locked when staff is not using it. Keys for the office and mailbox are in the library—top drawer on right.
7. Feel free to use the office for lunch, break, etc. There is a coffee pot, coffee, and there is bottled water in the refrigerator. Any candy or snack crackers are for staff.
8. Check the mailbox in front; leave mail on the computer desk in the office.

CLOSING PROCEDURES

1. Fill out a Shift Report.
2. Check that everyone is out of the building. Check the restrooms.
3. Shut down the theatre projector/sound.
4. Check that the backdoor is locked and latched. Be sure that the door to the basement is closed.
5. Bring in the sign and flags.
6. Lock the second door using the lower flip-lock.
7. Turn off all lights.
8. Activate the alarm using the instructions given in training. If the alarm goes off accidentally, call the director.
9. Lock the door. Return the key to the lockbox and make sure it is locked.

MEETING GUESTS

Greet everyone with friendly pleasure at their appearance. The best opening is:

1 — “Welcome to the museum! What brings you here today?”

While many people come to look around, many others come for a specific other reason. This opening let’s them know you are interested in them and their situation.

2 — “Would you sign our guest book?”

Tracking attendance is important in funding, grants, accommodation taxes, etc. If they aren’t here to browse the collection, still ask them to sign in (unless they are repair/service personnel).

If they are here for a different reason, of course you can switch to that; otherwise…

3 — “Would you like a guided tour?”

Some people enjoy browsing by themselves; others appreciate a “tour” and discussion about the items. Give them the option. You can usually tell from their responses if they would like you to go with them. Some will look and then return to ask questions or take you to an area to ask about a specific item. If you don’t know, say so. We don’t know everything about each item.

4 — Have you seen my [peanut butter]?

Finding a favorite item of your own, when that really is interesting or meaningful to you, can be a great way to strike up a conversation.

5 — Engage the children.

Kids are often ignored in “adult” museums; but they  should love history after visiting our museum — and it’s usually up to us to make that happen. For example, the peanut butter question to a child acts as a way of showing that history is interesting, and opens a chance to make it real and meaningful: “this is from a time when people had very little money and very little to eat. Someone protected this jar and kept it safe as a last emergency supply in case they had nothing else to eat ever. That we have it still full lets us know that this person came out OK and never needed it - whew!”

6 — “We’re beginning work on some new exhibits. This brochure explains more.”

Being a free but standalone museum, we are continually in need of funding. This is a current way to help without being pushy.

One docent should stay near the front to greet people. While people are in the galleries, it’s a good idea for the other docent to circulate. Even if they didn’t want a guided tour, watch how they engage with the collection. If they show particular interest in something, engage with them in conversation about it. If they are reticent and don’t want to talk, don’t push it; but many people appreciate the engagement.

Answering questions

People will expect you to know everything! Two sides to the coin: we want to be helpful and help them find answers. But there are many times when we simply say “I don’t know” — you can’t know everything, and it’s okay.

Our research library is packed with answers. Acquaint yourself with the organization of the material, and then the specific items.

Two of our best resources are the Sanborn fire maps and the city directories. City directories hold amazing info: lists of people (including where they lived, where they worked, and what their job was) and — perhaps most valuable — street lists of every building on the street and what it was used for. One side note: there’s a 1947 directory (a decade older than any of ours) in the South Carolina Room of the downtown Greenville library.

Artifact questions are often answered by information sheets with the artifact; it’s amazing how many times I’ve answered a question just by reading the card. Sometimes, more information can be found with the accession record online (and you can help us grow that information).

Filling out shift reports

As noteworthy things happen during your shift, make note of them on a Shift Report. Most critical is taking the name and contact information of people with questions, important information, or objects to donate. At the end of your shift, complete the form and put it in the Office inbox.

What to do when no one is here

• Acquaint yourself with the collection. One idea is to find a new interesting object every time you work a shift, and learn about that item during that shift.
• Acquaint yourself with the library.
• Research city building history (for the interactive map).
• Expand our accession records.
• Add photos of objects.
• Read Joada‘s books.
• Time to lean is time to clean. :)
• What are you interested in? Let’s talk. Museum operation is very large and complex, and we need help in dozens of areas.

Item donations

Visitors often ask or offer to donate historic items. If they ask “are you interested in __________?” the answer is always “yes;” we’re at least interested in evaluating the item. We have a full collections management policy which provides specific details about donations, but the simple version is this:

• Have them fill out a Donations Form. These can be found on the black basket attached to the filing cabinet in the library. If we are out of Donations Forms, contact the director to have new ones printed.
• Gather as much information as possible about it. Who used it, when, where? Do you have a picture of that person? Do you know where it came from?
• Note the gift on your Shift Report.
• Place the item on the “incoming” shelf of the accession processing shelves, and leave the donation form with it.
• We do reserve the right to decline an item (it might be too big, heavy, dangerous, or costly to maintain) and may return it to the donor.
• All donations are permanent gifts into the public trust and cannot be reclaimed. With this in mind, ensure the donor is well aware of this, and make sure they sign the Donation Form as well.
• We do not accept loaned items; they often cause problems down the road. If the donor has an extremely important artifact but only wants to loan it to the Museum, please call the Director immediately to discuss the situation.

Monetary donations

While most visitors will put donations in the box by the front door, occasionally one will hand you money directly. In most instances you can accept the donation and simply put it in the donation box after they leave — even checks. If it's a large enough donation that you're concerned about it, put the money in the change box in the left-hand drawer of the retail area and notify the Director immediately.

Volunteers and interns

We rely entirely on volunteer efforts, so it's exciting whenever someone inquires about helping out. When they do, immediately ask them to fill out the volunteer application. There are separate applications for volunteers and for interns. Online applications are best; they can use the office computer or there's a QR code on the wall just outside the office door. If they prefer, paper applications are beside the guest sign-in register.

Museum people

Volunteers are often asked about other museum staff. Here are the most common:

• Carm Hudson was the founder of the Museum. She died in 2017.
• Joada Hiatt was the director of the Museum for many years and then historian. She retired and moved away to be near her grandchildren.
• David Duncan was president of the board for many years, and served as interim director after Joada left. His health has left him unable to participate now.
• David Lovegrove is the current director.
• Val Owens is our volunteer coordinator — you probably already know her!
• Nannette Iatesta is a volunteer; she is a retired history teacher. You will meet her and love her (I promise).
• Mike Iatesta, Nannette's husband, is on the board of directors. He's the kindest person you'll ever meet.
• Ellen Henson is a board member with deeeeep community roots. She knows everybody in town.
• Jonathan Lovegrove runs the Museum's public communications, social media accounts, and manages most Museum events.
• Bethany Lovegrove is David's wife and a volunteer.

FAQ’s

Do you buy or sell artifacts? NO. All items are donated and become part of the public trust.

Do you take items on loan? No (only under special, rare circumstances).

When was Greer founded? 1876

Why was it named Greer? It was first called “Greer’s Depot” because James Manning Greer sold right of way for tracks and land for a depot to the Airline RR. When it was incorporated in 1876, Greer no longer owned the land but the town was named “Greers.” The “s” was dropped in everyday use in the early part of the 20th century, and officially dropped in 1976.

Who really started Greer? Terry Shumate, who bought Greer’s land and subdivided it into lots.

What was the industry? Greer began as a farming town buying cotton from local farmers; Greer’s first mill was a cottonseed oil company. Between 1895 and 1909 four textile mills were built. Greer was a mill town until the 1980s.

Any famous people connected to Greer?  Shoeless Joe Jackson played his first professional season for Victor Mill. Dr. Few, the founder of Trinity College (now Duke University), was from Greer.

Besides cotton, what other crops were grown? Peach orchards surrounded Greer. South Carolina Peach Festivals were held in Greer from 1957–67.

What is unique about Greer? It is a city in 2 counties. This division is based on an old Indian Boundary Line, drawn by the British with the Cherokees. It is a city that is not a suburb of Greenville or Spartanburg. It has always had its own identity and reinvents itself with the times.

Does the museum catalog artifacts?  Yes. The museum uses a standard museum accession system; the catalog is publicly available on our website.