I wrote an essay for the American Association for State and Local History about doing educational programs with fourth graders and what we as public historians can learn from such experiences. Check it out here and let me know what you think!
The National Council on Public History’s 2017 Annual Meeting has concluded and I’m back home doing my thing. There were more than 800 registrants at this year’s meeting who undoubtedly had a range of experiences during the conference, but on a personal level it was a true pleasure seeing old friends, making new ones, and having the chance to participate in important conversations about the state of the field.
In thinking about the conference’s theme since coming home–“The Middle: Where Have We Come From, Where Are We Going?“–my mind keeps going back to two sets of questions I have about the role of authority within the field. One is between public historians and the publics they work with, the other is between public historians and the people who employ them.
Regarding the former set of questions, I was struck by how various sessions grappled with whether public historians should cede or assert their authority in these situations. To cite one example, various presenters analyzing controversial monuments in the United States and Argentina all admitted during the conference that beyond doing research on the monuments and presenting their findings, a correct path for navigating where to go in the future was mystifying. Do historians conclude by presenting their findings and avoid making declarative statements one way or the other, or do they use their authority to advocate for a particular position that may or may not reflect the viewpoint of a majority of a local community’s residents? If historians take a position, whose voices within the community do they choose to amplify and why? More specifically, since community members already have a voice regardless of whether or not public historians are there, whose voices do we choose to use our privilege and platform in service of?
Additionally, are their times when further dialogue over something like the presence of a controversial monument is unnecessary and public historians must start taking political action to achieve a larger goal? How useful is it for public historians to keep discussing so-called “counter-monuments” and contextual markers for something like the Liberty Place Monument when local residents in that community are ready to take that monument down?
In “Touring Sites of Nostalgia and Violence: Historical Tourism and Memory in Germany, Poland, Turkey, and the United States,” a session I had the privilege of moderating, the question of historical authority in the visitor experience to sites of violence was a central question. Erica Fagan of the University of Massachusetts Amherst explored the use of Instagram at Holocaust sites like Auschwitz and Dachau and mused on what extent historians should moderate these posts, arguing that these sites needed to have a social media presence to dispel historical myths and falsehoods. Yagmur Karakaya of the University of Minnesota assessed several museum exhibits in Turkey that romanticized the historical legacy of the Ottoman Empire. She made connections between the exhibit content and the rhetoric of the current Erdogen administration in promoting their own goals, wondering if there was a role for public historians to offer a more balanced and less nationalistic portrayal of the Ottoman past. And Amanda Tewes explored Calico Ghost Town, a small historic site in San Bernardino, California, that is entirely volunteer-run and is probably better described as a theme park than a historic site. Volunteers engage in battle reenactments and glorify the mythic western white miner who drank heavy, carried a gun, and asserted his individualism and masculinity. Meanwhile, the actual history of Chinese laborers in the area and Calico’s peaceful, relatively non-violent culture are completely ignored.
Assessing the correct relationship between public historians and their publics is not a new concept, and NCPH 2017 continued a long conversation within the field about this topic. Unfortunately I believe we all too often use buzzword jargon words like “shared authority,” “giving groups a voice,” “community,” “radical history,” and “relevance” without thinking critically about what, exactly, we mean by these terms. This is something I warned about after last year’s conference, but I still think it’s a problem within the field. Moreover, while I won’t get into specifics here, I think we sometimes run the risk of taking too much credit for capturing the stories of disaffected groups who, once again, already have their own voices regardless of our presence. And when we do that, we come off as condescending and patronizing at best.
With regards to my second set of questions–the relationship between public historians and the people who employ them–it was obvious from the beginning that this conference was very much inward looking towards questions of employment and financial support for the long-term health of the field. To be sure, I am of the opinion that the humanities have struggled to maintain support since Socrates died for asking too many questions. But circumstances change over time and with our current political moment being highlighted by hiring freezes, potential budget cuts, and an increasingly politicized culture not just at the federal level but also the state and local level, it is safe to say that grad students about to hit the job market and new professionals at entry-level jobs are wondering about finding work and establishing career tracks. What happens when institutions face severe cuts and education is the first thing to go? What are the implications when the number of public history programs increases in times of economic uncertainty?
We are not sure what’s next and we all admitted it at the conference.
So, in sum, I think the big challenge for the field of public history continues to revolve around authority: Asserting our value as historians who enlighten, challenge, and inspire our many publics to understand and learn from studying history, but also using our positions to give those many publics a platform to share their experiences, stories, and perspectives about the past without us dominating the process.
Oh, also: I did a workshop on starting a walking tour business with Jeff Sellers and Elizabeth Goetsch, and it was probably one of the best experiences I have ever had at an NCPH conference.
Next week I’ll be heading out to Indianapolis to attend my fourth straight Annual Meeting of the National Council on Public History. I lived in Indy for two years while pursuing my Master’s degree at IUPUI and am looking forward to seeing a lot of my old friends inside and outside the public history field while there.
I initially planned on keeping my obligations light for this conference compared to past years, but that changed quickly. As co-chair of the NCPH Professional Development Committee I helped organize this year’s Speed Networking session and will be emceeing the actual event. I was also asked to moderate/facilitate a really fascinating panel on Friday, April 21st at 3:30PM: “Touring Sites of Nostalgia and Violence: Historical Tourism and Memory in Germany, Poland, Turkey, and the United States.” Each presenter is really talented and the conversation should be fascinating. On top of these events I’ll be mentoring a grad student throughout the conference and will help run the Professional Development Committee’s yearly meeting at the conference.
Last year’s conference theme was “Challenging the Exclusive Past,” and I came away thinking that the actual theme was “Challenging the Exclusive Public Historian.” This year’s theme is “The Middle: Where Did We Come From? Where Are We Going?” I’m not sure what to make of this theme right now because “The Middle” seems like an ambiguous term in the context of public history, but hopefully after what will turn out to be a fruitful meeting my thoughts will clarify afterwords. Stay tuned!
President Donald Trump went out of his way yesterday to honor the 250th birthday of Andrew Jackson in Tennessee, which in turn has amplified continued online conversation about who in American history is deserving of honor through public ceremony and monumentation. Writer Shaun King was quick to declare that “no President who ever owned human beings should be honored” and that “slavery was a monstrous system. Everybody who participated in it was evil for having done so. Period. No exceptions.”
Some of the most difficult work in public history right now, in my opinion, centers around the nature of public commemoration and understanding how societies choose to remember their past. These are difficult conversations to have and the boundary lines between “good” and “bad” are arbitrary and poorly defined. King’s argument is provocative and worth considering. Generally speaking, I agree that owning slaves was a choice and that participating in the institution of slavery is inexcusable. But once you read the story of Ulysses S. Grant, our last President to be a slaveholder, you might conclude that King’s argument is simplistic and not a very satisfying resolution to the question of who and who isn’t worthy of public honor.
Now, I make my living educating people about General Grant’s life and times, so it could be easy for a reader to claim that I am “biased” or that I am a Grant apologist. I would reject that claim. All I can say is that I have my views about Grant but that those views have been developed through years of vigorous study of the man based on the best historical scholarship around. I don’t approach my job with the intention of portraying Grant as a hero or a sinner to visitors, but rather seek to humanize his experiences and increase understanding of his beliefs, motivations, and actions within the context of 19th century history.
Ulysses S. Grant lived in St. Louis from 1854 to 1859. For most of that time he worked as a farmer and lived with his family at White Haven, his In-Laws slave plantation in South St. Louis county. During this time Grant somehow obtained one slave, William Jones (see here for a more detailed essay I wrote about Grant’s relationship to slavery). We don’t know how or why he obtained Jones, nor do we know for how long he owned him. We do know, however, that he freed Jones in March 1859 before leaving St. Louis, something many other slaveholding Presidents never did with their enslaved people. That was the extent of Grant’s personal experiences in slaveholding. Unfortunately for historians, Grant didn’t leave any letters before the war stating one way or the other how he felt about the institution as a whole. It appears that Grant never challenged slavery’s presence in America or considered the politics and philosophy of slavery in writing before the war.
Something changed in Grant’s mind during the Civil War, however. He embraced emancipation as a war aim and welcomed black troops into his ranks. By the end of the war, one out of seven troops in his ranks were black. During the initial phases of Reconstruction, Grant came to believe that President Andrew Johnson’s policies towards the South were too lenient and that the freedpeople deserved more protection against violence, black codes, and overt discrimination by whites. After the Memphis Massacre in 1866 Grant called upon the federal government to arrest and prosecute the perpetrators who killed 46 African Americans, which never happened. When Grant was elected President in 1868, he immediately called upon Congress and the states to ratify the 15th Amendment preventing states from banning men from voting based on their race. On March 30, 1870, he delivered a message to Congress in which he declared that the 15th Amendment was the most significant act in U.S. history and a repudiation of the 1857 Dred Scott Supreme Court decision:
It is unusual to notify the two Houses of Congress by message of the promulgation, by proclamation of the Secretary of State, of the ratification of a constitutional amendment. In view, however, of the vast importance of the fifteenth amendment to the Constitution, this day declared a part of that revered instrument, I deem a departure from the usual custom justifiable. A measure which makes at once 4,000,000 people voters who were heretofore declared by the highest tribunal in the land not citizens of the United States, nor eligible to become so (with the assertion that “at the time of the Declaration of Independence the opinion was fixed and universal in the civilized portion of the white race, regarded as an axiom in morals as well as in politics, that black men had no rights which the white man was bound to respect”), is indeed a measure of grander importance than any other one act of the kind from the foundation of our free Government to the present day.
In 1871 Grant responded to the emergence of the Ku Klux Klan by using the KKK Act to shut down the group. That year he also used his Third Annual State of the Union Address to call upon Brazil, Cuba, and Puerto Rico to abolish slavery. He repeated the theme in his Fourth Address, stating that the Spanish Empire’s continuation of slavery in Cuba was “A terrible wrong [that] is the natural cause of a terrible evil. The abolition of slavery and the introduction of other reforms in the administration of government in Cuba could not fail to advance the restoration of peace and order. It is greatly to be hoped that the present liberal Government of Spain will voluntarily adopt this view.” In future addresses he spoke out against other White supremacist groups in the South like the White League and Red Shirts who continued to commit acts of violence and sometimes outright massacres against African Americans in the South. And during his Post-Presidency world tour, Grant stated to Otto von Bismarck about the Civil War that “As soon as slavery fired upon the flag it was felt, we all felt, even those who did not object to slaves, that slavery must be destroyed. We felt that it was a stain to the Union that men should be bought and sold like cattle.”
Frederick Douglass spoke often about Grant and was a dedicated supporter of his Presidency. At one point he stated that “Ulysses S. Grant, the most illustrious warrior and statesman of modern times, the captain whose invincible sword saved the republic from dismemberment, made liberty the law of the land. A man too broad for prejudice, too humane to despise the humblest, too great to be small at any point. In him, the negro found a protector . . .” and recalled in his 1881 book Life and Times of Frederick Douglass that:
My confidence in General Grant was not entirely due to the brilliant military successes achieved by him, but there was a moral as well as military basis for my faith in him. He had shown his single-mindedness and superiority to popular prejudice by his prompt cooperation with President Lincoln in his policy of employing colored troops, and his order commanding his soldiers to treat such troops with due respect. In this way he proved himself to be not only a wise general, but a great man, one who could adjust himself to new conditions, and adopt the lessons taught by the events of the hour. This quality in General Grant was and is made all the more conspicuous and striking in contrast with his West Point education and his former political associations; for neither West Point nor the Democratic party have been good schools in which to learn justice and fair play to the Negro (433-435).
Is Grant someone who should never be honored, as Shaun King suggests?
My biggest issue with King’s argument is that it assumes that people in the past never changed their thinking over time and that a former slaveholder like Ulysses S. Grant could never come to realize that holding humans in bondage was wrong. Grant was far from a saint: his ownership of William Jones was inexcusable, his General Orders No. 11 during the war expelling Jews from his lines was inexcusable, and his Indian policy during his Presidency was well-intentioned but flawed. But are there not actions he took in his life that were commendable and worth honoring?
One of the bigger problems I see with this whole discussion is that we as a society should really focus on understanding before honoring. I would rather see President Trump read a book about Andrew Jackson than stage a big ceremony honoring the man (who, to be sure, has a horrid record as a slaveholder, racist, and Indian fighter, and is someone I wouldn’t be comfortable honoring). I would like for Americans to go to historic sites with the intention of understanding the life and times of historic figures. I would like for people to appreciate complexity, nuance, and the basic idea that people–then and now–often hold evolving and contradictory views towards politics.
I suppose my historical training has soured me on the idea of “heroes” as a general approach to appreciating history. I admire the words of the Declaration of Independence, but I haven’t forgotten that the author of those words raped Sally Hemmings. I admire Washington’s words about entangling alliances and the importance of Union, but I haven’t forgotten that he too was a slaveholder. I think Jackson was right on the South Carolina Nullification Crisis, but I won’t forgive him for the Trail of Tears or his violent slaveholding. I think Grant was wrong for being a slaveholder, but I appreciate the efforts he undertook as President to protect the rights of all, and I appreciate that he came around to believe that slavery was an evil wrong. I appreciate moments in history when right triumphed over wrong and people in the past took principled stands for positions that protected the rights of all Americans, but I never forget that people in the past were humans, not Gods, and that even the best humans have their flaws. And I never forget that American freedom was first established in this country on a co-existence with and acceptance of slavery.
Earlier this month I was in northwest Arkansas for a conference and had an opportunity to visit a number of history museums while there. Those site visits included the Daisy Air Gun Museum, the Rogers Historical Museum, and the Walmart Museum (yes, they have one). I found each site charming and the people who work at these sites extremely friendly. Everyone made me feel welcomed and were glad to have me as a visitor. On the whole I enjoyed my experiences at these places.
I am a critical viewer of museum exhibits, however, much in the same way that a musician is a critical viewer of other musicians or a filmmaker critically views rival cinema. My training in museum and historical methods ensures that I can never go back to looking at museums and public history sites as objective storehouses of artifacts and disinterested facts. I view every aspect from aesthetics to text markers to guided tours in an effort to see what larger interpretive messages these places hope to convey to their viewers. Although each site covers a wide time period that in some cases goes back to the late nineteenth century, they all had a similar interpretive centerpiece at the heart of their expererince: nostalgia for the 1950s.
Nostalgia is an inherently conservative emotion in my view. It smooths over the rough edges of history’s complexities and often focuses inward on our idealized personal memories of life experiences. Nobody looks back at a bad life memory in a nostalgic way. Nostalgia doesn’t convey how things were but how we wish they were and how we wish them to be. It tries to recreate an image of a past world that can never be recreated in the present, and the inability to bring this past world alive in the present intensifies our desire to bring it back against all odds. And above all else, we use nostalgia to reclaim our innocence – to return to a time when fear and insecurity didn’t exist and when things were simpler (at least in our minds). As Alan Jay Levinovitz argues in Aeon, “it is crucial to distinguish between wistful memories of grandma’s kitchen and belief in a prior state of cultural perfection.” Nostalgia is wistful thinking about a state of perfection that never existed. And it often sells within the context of museums.
The 1950s are a particularly unique time period shrouded in more nostalgia than any other era in recent history. Each museum I visited covered different aspects of this nostalgia. Men worked hard and had jobs to support the family; women stayed home and tended to the domestic sphere; children went to school and behaved like good little boys and girls; local law enforcement always had residents’ best interests at hand; everyone went to church and prayed to the same Christian God; racial, labor, or any other form of social strife was non-existent; everyone knew their place in society and happily accepted that place without reservation. We might call this interpretive phenomenon “Andy Griffith History.”
At one of the aforementioned sites I overheard a woman ask a museum employee why there were no exhibits on the contributions of African Americans or any other minority group to the life of the people in northwest Arkansas. The employee said that “well, we don’t have any exhibits on that topic unfortunately and the town of Rogers was a Sundown town in the 1950s.” A person visiting these sites without any sort of background in the history of the Civil Rights Movement would not realize that Walmart’s growth as a company occurred as Arkansas Governor Orville Faubus supported racial segregation of public schools and the Little Rock Nine crisis occurred. Nor would many people without prior knowledge look at the Walmart museum and learn that labor conflicts have occurred frequently throughout the company’s history. The pull of nostalgia only allows for a innocent view of the period devoid of any social conflict.
I suspect that 1950s nostalgia draws people to these places because the period has been so mythologized in popular culture and many (white) people alive today remember the era in fond terms. I do wonder, however, if this approach will continue to work over the next twenty or thirty years and if places that rely on nostalgia this way will have staying power in the long run. Again, I found a certain charm in these museums, and there were certainly good aspects of the 1950s that we should remember and celebrate. We should always heed Levinovitz’s advice, however, and avoid believing that any past era was perfect. That sort of thinking is bad for history and probably bad for determining contemporary policy too.
John C. Calhoun has become the latest casualty in an ongoing conversation about America’s commemorative landscape and who, exactly, is deserving of continued commemoration and a place of honor within that landscape. After the formation of a committee and much debate (noticeably without the voice of historian David Blight), Yale University has decided to remove Calhoun’s name from a residential college that was established in 1931. Journalist Geraldo Rivera, decrying “political correctness,” announced that he left a position at the university and, unsurprisingly, numerous thinkpieces have emerged making arguments for or against the change. Rivera is free to do what he pleases, although I find this episode a strange cause for which to give up a job. I also respect Yale’s position even though I can see compelling points on both sides of the argument.
One of the more thought-provoking essays I’ve come across since the announcement is Roger Kimball’s op-ed in the Wall Street Journal. Kimball claims that the process by which Yale decided to remove Calhoun’s name was inconsistent and that, just like Rivera’s claim, the change was flawed since a “politically correct circus” of academic groupthink dominated the process. He rightly points out that Yale’s history as an educational institution is loaded with notable alumna and professors with controversial backgrounds, including Elihu Yale himself. In making this argument, however, Kimball downplays Calhoun’s historical legacy and never makes a compelling argument as to why Yale should have kept his name associated with the residential college. Equally important, he doesn’t make an effort to examine Yale’s reasoning for naming the college after Calhoun in the first place.
There are two major problems with Kimball’s thinking, in my view. The first is the way he characterizes Calhoun. Kimball acknowledges that he was a slaveholder and brilliant politician who argued that slavery was a “positive good.” But Calhoun wasn’t just a racist slaveholder; he was a political and intellectual leader of American proslavery thought whose words influenced a generation of proslavery thinkers.
Thomas Jefferson was a slaveholder who maintained an uneasy relationship with the institution. He called slavery a “moral depravity” and contrary to the laws of human nature. John Calhoun told slaveholders to not feel ashamed any longer; slavery was a law of nature and servitude to white enslavers was the correct station in life for black people. Proslavery religious leaders used Calhoun’s logic to argue that enslavement allowed for African souls to be Christianized. Scientific thinkers like Samuel Cartwright said African Americans were biologically inferior and went so far as to invent a new disease, “Drapetomania,” to explain why slaves tried to run away from their enslavers. Proslavery political leaders in the days of the early republic through the 1820 Missouri Compromise were willing to set aside some new U.S. territories from slavery’s expansion in the interest of sectional harmony and free state/slave state political balance. But those proslavery leaders were replaced by new leaders in the 1840s and 1850s who said that compromise on the slavery question was dishonor and that all new territories should be opened for slavery. John Calhoun, in his racism but also his intellectual brilliance that was in part cultivated by his Yale education, played an integral role in fostering these developments, which in turn led to the eventual breakout of the American Civil War, the deadliest war in this country’s history.
These truths are too much for Kimball, however. He states that “You might, like me, think that Calhoun was wrong about [slavery]. But if you are [Yale President] Peter Salovey, you have to disparage Calhoun as a “white supremacist” whose legacy—“racism and bigotry,” according to a university statement—was fundamentally ‘at odds’ with the noble aspirations of Yale University” . . . “Who among whites at the time was not [a white supremacist]? Take your time.”
Wendel Phillips; the Grimke sisters; the Tappan brothers; Theodore Weld; John Brown; Thomas Wentworth Higginson; Gerrit Smith…
Is Calhoun somehow not a racist or white supremacist? Did he not believe that blacks as a race were inferior and that the white race should be able to control the black race through whatever legal means it saw fit? What does it say about Kimball that he becomes infuriated with the words “white supremacist” to describe Calhoun?
The second problem with Kimball’s argument is his “whatabout-ism” in the essay. What about slave trader Elihu Yale or other slaveholders associated with Yale like Timothy Dwight, Benjamin Silliman, and Jonathan Edwards? Shouldn’t they also have their names removed, he asks? Certainly Yale was a more “objectionable” person than Calhoun, right? This line of thinking is a crucial element of Kimball’s argument because it intends to discredit Yale’s process for removing Calhoun’s name and ultimately paint the university’s administration as playing politics with the issue. This is a fair critique, but only to a point. Isn’t it a bit subjective and unproductive to debate whether Yale or Calhoun was “more objectionable” when both said and did despicable things? Aren’t we deflecting from the real conversation–whether or not John Calhoun as an individual, regardless of anyone else’s legacy, is deserving of a place of honor at Yale–by arguing that other people were bad too and that all white people were racist at the time?
Buildings all over the world are named after historical figures whose names were placed there because powerful cultural elites believed that person represented values that were important to contemporary society and were therefore deserving of honor and recognition. Some of these names will remain in their location forever. Some of these names change over time because new people make history and earn a spot within the commemorative landscape while older names are forgotten. And sometimes those names change because contemporary values–which are always a factor in selecting who gets to be a part of a commemorative landscape–change.
It is more than fair to ask whether or not the process of removing Calhoun’s name was legitimate, but it’s a separate question from whether or not Calhoun deserves his place of honor. If we wish to have a productive conversation about John C. Calhoun’s historical legacy, we must be willing to have an honest look at his life, his deeds, and his time. We must be willing to acknowledge that he was a white supremacist and a controversial figure in his time. And we must consider why Yale leaders felt the need to honor Calhoun with a college in his namesake in 1931 and why it was considered acceptable at that time to do so. From there we can begin to debate Calhoun’s individual legacy without resorting to tired “political correctness” arguments or childishly saying that other people were bad too. If Calhoun deserves a college in his name, make a compelling case to justify it based on his merits as a historical figure.
The Westmoreland County Historical Society responded to my email about their mock hanging reenactment yesterday. There is good news, on the one hand, as the organization has decided to no longer engage in this particular reenactment in the future. On the other hand, the email was a pre-written pseudo apology, and it’s evident that my message (and probably anyone else who wrote one) was not read by any staff members. This is a particularly disingenuous action given the fact that the organization’s previous Facebook statement encouraged discussion about “this sensitive aspect of American history in a constructive way.” Why encourage constructive feedback but then ignore that feedback and write a second pre-written statement?
Here is the email response in full:
I don’t want to belabor my complaints here, but really? “We deeply regret that people were offended” instead of simply apologizing and/or acknowledging that engaging in a public hanging reenactment might be problematic. Also, the person who posted the video to YouTube is truly at fault because the video took things out of context. Everything would make sense if it weren’t for this video. Really?
Once again, the historical society gets it wrong by defending their program through harping on their obligation to discuss “sensitive” aspects of history, “even those that are unacceptable to our modern sensibilities.” No one is questioning that obligation. Most visitors can handle programs about sensitive topics and public historians in the field applaud that approach, as we have an obligation to discuss difficult topics in human history. The problem that the critics had was with how the program was organized, the medium by which it was conducted, and the lack of an explanation about the educational purpose a mock hanging serves towards understanding this particular event in American history.
As I mentioned in my email, there are many different ways public history institutions can discuss difficult topics like slavery, genocide, the Holocaust, or a public hanging without having to literally reenact the particular event. I can visit Manzanar National Historic Site and understand the significance of the site without having to watch a reenactment of a Japanese American family being thrown into an internment camp. I can read a historic marker commemorating the 1866 Memphis Massacre and understand the significance of the event without living history performers reenacting a scene of angry whites torching the homes of black neighbors and then firing gunshots into those homes when their inhabitants tried to get out. I can visit a place like the Sachsenhausen Concentration Camp, as I did in 2015, and engage in thoughtful discussions with fellow visitors and staff about sensitive aspects of history without watching performers reenacting SS guards torturing the camp’s inmates.
In sum, a living history reenactment of someone’s death is a tasteless, wholly unnecessary exercise that does little to enhance understanding or empathy of a given historical topic.
The online publication Indian Country Media Network recently reported on a public history site that engaged in a public hanging reenactment of a Native American man this past summer. The article garnered some attention among public historians on social media, many of which expressed serious concerns about the appropriateness of this program. The Westmoreland County Historical Society attempted to defend their program with the following statement on Facebook:
I decided to respond to this statement. Here’s my email to the organization:
To whom it may concern at the Westmoreland Historical Society,
This message is in response to your statement on Facebook about a recent program your institution hosted in which living history performers reenacted an eighteenth century court case, including the gruesome hanging of the Native American Mamachtaga. I am a public historian who occasionally participates in living history programs, and I heard about this particular program through social media. While I respect your dedication to educating visitors about eighteenth century American history—particularly complex legal cases that involve thorny issues of race, gender, and indigenous rights—I have serious concerns about your institution continuing to engage in this mock hanging and similar reenactments in the future.
I found your Facebook statement in defense of your institution’s program to be inadequate. The statement appears to fundamentally misunderstand what many critics of this program are saying. Several Facebook users who commented on your statement also missed the point. The genesis of your statement is that your institution worked very hard to present a historically accurate program; your team engaged in primary source research and worked to provide context for the “historic political climate and social attitudes as well.” That’s good, but it’s not enough.
By focusing your statement on the historical accuracy of the program, you seem to suggest that your critics must either have a problem with the idea of doing any program on the Mamachtaga case, or that they can’t handle the idea of a historic education program that focuses on the “bad” parts of history. In any case, the program was historically accurate, so what’s the problem? That is a mistaken argument. On the contrary, few professionals in the public history field would have any problem with doing a program about Mamachtaga or similar cases like his. The problem that many of us have with your program is the lack of consideration about how the story is being told and the interpretive medium in which it is being told.
Interpretive programs take many shapes and forms, including tours led by trained guides, public lectures, video presentations, historical markers, digital presentations, living history programs, and other mediums. As educators, we want these programs to foster understanding and appreciation for history and the role it shapes in our daily lives. But what educational value does a hanging reenactment offer for the visitors who come to your site? What is it that you want your visitors to take away from this program?
There are have been numerous controversial living history programs about slavery in recent years that you may have heard about. In 2011, the Jefferson National Expansion Memorial in St. Louis, Missouri, hosted a “slave auction” reenactment on the steps of the Old Courthouse, and Conner Prairie Interactive History Park in Fishers, Indiana, hosts an award-winning living history program about the Underground Railroad entitled “Follow the North Star.” These programs have received both praise and criticism, which I think is fair. The problem with any program that attempts to literally “reenact” a historical experience like slavery, genocide, the Holocaust, or in this case a hanging, is that such a program cannot be accurately recreated for a modern audience, which in turn trivializes the experience. Furthermore, such a program runs the risk of de-humanizing the historical figures these performers are attempting to portray, and they can be emotionally hurtful to people who are watching regardless of what their particular background may be.
What makes the Old Courthouse slave auction and “Follow the North Star” largely successful, however, is that they incorporate pre- and post-event activities to allow people a chance to become emotionally prepared for what they are about to see and then share their feelings with a trained professional in a facilitated dialogue setting afterwards. Rather than coming to the site unprepared and leaving with a bunch of bottled-up emotions, these dialogue activities allow people to unwind and feel welcome in an environment that promotes learning and inclusiveness. Attendance in these activities is mandatory for visitors who want to participate in the main event. Your statement does not indicate whether or not such activities were incorporated into your program.
I have no doubt that the Westmoreland Historical Society is dedicated to conveying accurate history to its audiences. But at the end of the day, making sure that living history programs are historically accurate is only half the challenge of creating a successful program. Considerations of audience, setting, and interpretive medium must also be considered, and I believe the Mamachtaga program failed to account for these considerations. I believe a living history program focused on the hanging of a Native American or anyone else distracts from the history you want to impart on your audiences and is ultimately a program in poor taste. American history is drenched in the blood of victims of state violence, whether that be the largest mass hanging in U.S. history after the Dakota Uprising in 1862, the Memphis Massacre of 1866, the East St. Louis riots of 1919, or any other countless instances of bloodshed. Must we reenact these stories in a literal fashion in order to attract visitors and dollars? In the future, I hope you reconsider the merits of doing a mock hanging and consider other ways of bringing American history to life.
One of the last things I did in 2016 involved taking a short trip to New Orleans, Louisiana, to visit a good friend of mine and explore some of the historical sites in the area. The trip was wonderful and I also enjoyed the eighty-degree temperature outside, a nice contrast to winter in the Midwest.
About three years ago I had the opportunity to visit the National World War I museum in Kansas City. The National World War II museum just so happens to be located in New Orleans, and we made a point of spending nearly an entire day visiting the site. I came away from the World War II museum impressed with some aspects and less impressed with others. I’ve been thinking about the similarities and differences of my experiences at both museums since the trip, and what follows are some rough thoughts on those experiences.
One of the major aspects of the World War II museum is its use of technology throughout the museum. Upon arriving at the museum, visitors have the option of obtaining a “Dog Tag” card that looks like a credit card. Computer stations throughout the museum have a spot where you can put your card on a scanner, upon which the computer shows a short video of a World War II solider who is assigned to your card. Five stations throughout the museum tell a different aspect of your soldier’s experiences before, during, and after the war (if they survived it). Notwithstanding the difficulty of finding some of the computer stations (I missed two of them) and the lack of available computers (I don’t think I’ve been to a museum that was so busy and people were almost always hounded around the computers), I though the activity was thoughtful and educational. My “Dog Tag” had the story of four-star General Benjamin O. Davis, who happens to be an extremely important and heroic figure in U.S. military history. Elsewhere there was an interactive activity about the USS Tang, a ship that sunk thirty-three enemy ships during the war, that was immersive and interesting. Visitors were assigned to a station within a recreated model of the Tang and given a specific duty on the ship to complete during a mission.
Other uses of technology in the World War II museum were not as successful, in my opinion. The museum was full of videos throughout the exhibits, all of which had sound. The sounds from each of the videos often bled into each other, creating a wall of cacophonous sound that distracted from the exhibit text and artifacts in a given area. Equally frustrating was how the walkways throughout the exhibits were not large enough to isolate video-watchers from the rest of the crowd. People would stop to watch the videos and block the walkways for other museum-goers, creating cramped hallways and little breathing room to maneuver through the museum. The World War I museum, by contrast, doesn’t utilize as much digital technology in its exhibits but uses its resources in ways that are more user-friendly. Videos about the political situation in the 1910s, the coming of World War I, and the United States’ decision to enter the war are isolated from the rest of the museum exhibits, allowing visitors who want to see the videos the freedom to do so while not distracting from others who want to visit the museum’s other exhibits. While the World War I museum doesn’t offer a “Dog Tag”-type activity for visitors, it did offer one interactive activity in which visitors created their own propaganda posters using graphics and artwork from posters used in various countries at the time.
The other noticeable aspect of both museums is the role of politics in their interpretive exhibits. The World War I museum does a masterful job in both its exhibits and videos of analyzing the political conditions that existed in Europe before the coming of the Great War. Topics such as nationalism, colonialism, imperialism, racism, and entangling alliances are explained with clarity and precision without sacrificing complexity. Equally important, the World War I museum places particular interpretive emphasis on conditions in Europe, not the United States. I believe this distinction is really important. While the museum is tasked with educating visitors about the American role in war, the staff at the museum astutely understand that this role must be fit within a larger story that spends several years in Germany, England, France, Austria-Hungary, Serbia, and the rest of Europe before the U.S. became a leading actor. The museum’s splitting into two sections between the years of 1914-1916 and 1917-1918 (when the U.S. entered the war) reinforces the importance of not focusing on the war’s history through too strong of an American lens.
The World War II museum, however, struggles to address the equally messy politics of that conflict. The exhibits throughout the museum barely touch political matters beyond the interactions between politicians and generals with regards to military strategy and tactics. A film narrated by the actor Tom Hanks does acknowledge that the U.S. faced two growing enemies in fascist Europe and imperial Japan, but doesn’t explain how these two forces came to be. Visitors are told, for example, that the Nazi party ruled Germany through the ideological lens of hatred and Aryan racial purity, but doesn’t explain how the Nazi party appealed to a wide swath of German voters or point out that Hitler was democratically elected. Likewise, Japan is portrayed as a militaristic, land- and -resource-hungry empire bent on conquering all of Asia, but why Japan held these ambitions and how they gained such power in the first place is left unexplained.
Another contrast of equal interest is the use of patriotic themes through these museums. The World War I museum takes a somber, reflective tone throughout its exhibits. The most notable example is the Paul Sunderland Glass Bridge. Underneath the bridge lies 9,000 poppy flowers in a field. Each flower represents 1,000 deaths during World War I, symbolizing the nine million people worldwide (not just Americans) who died in that conflict. No such display is exhibited in the World War II museum, and while the Tom Hanks film points out that 65 million people worldwide died in World War II, it becomes evident in the film and surrounding exhibits that the 400,000-plus Americans who died during the war will get particular attention in the interpretive programs. Nothing demonstrated this fact more than a musical program in one of the World War II museum’s buildings. Three women in 1940s-style dresses–one red, one white, and one blue–sang patriotic songs for roughly thirty minutes, including the songs of each military branch and Lee Greenwood’s “God Bless the USA.” During Greenwood’s song the women pulled out a U.S. flag, which in turn led to rancorous applause among the museum’s visitors. This exercise isn’t necessarily wrong or out of place at a museum of American history, but I can’t help but feel like such a display would feel unusual at the World War I museum. Likewise, similar exercises would feel awkward in a German museum like the Jewish Museum, Berlin, or the German Historical Museum, both of which I visited in 2015, where such open displays of patriotism and nationalism are fraught with their own difficulties and historical baggage. The musical program reinforces the history of World War II as a “Good War” in American memory, as historian John Bodnar explains in his 2010 book on the topic. U.S. involvement in World War II was good, of course, but the story is more complicated than singing a Lee Greenwood song.
In sum, the interpretive focus of the World War I Museum is a warning in the dangers of excessive nationalist sentiment and an elegiac meditation on the destructiveness of war, particularly one in which modern technology further amplifies the killing. Conversely, the interpretive focus of the World War II Museum is openly nationalist, Ameri-centric, and a borderline glorification of war. The World War I museum explains the causes of the war, its effect on world affairs, and the consequences of an inadequate peace treaty that helped foster another tragic world war just a few decades later. The World War II museum only mentions the causes of the war in passing through a video. While it does highlight the bloodshed of the war, particularly the blood shed by American soldiers, it struggles to tie in the conflict with other global affairs and chooses to stop at the war itself. The messy politics of the Cold War are put to the side in favor of a simple narrative of American progress and freedom.
I enjoyed both museums and believe that everyone would benefit from visiting both, but I believe that the World War I museum is superior in its interpretive programming and educational themes. It remains one of the best museums I have ever visited.