The 26-mile march, a re-enactment of the 1811 German Coast Uprising in southeast Louisiana, began Friday morning and will conclude Saturday. It was timed to the 400th anniversary of the arrival of enslaved Africans in Virginia, a moment that has ignited considerable reflection about the specter of slavery still hanging over the United States and the depths of its influence…
The performance was conceived, in part, to demonstrate how the ghosts of slavery have endured; the institution itself is gone, but the animosity and oppression have evolved and lingered. Staging a provocative revival of a violent rebellion, recounted in unsparing detail, stirred fears that the performance might turn into a very real confrontation.
Read the entire piece here.
Over at The New Republic, writer Nick Martin writes about the difficult work of diversifying historical reenactments. Here is a taste:
Diversifying all forms of historical reenactment, whether an amateur showing, a school activity, or a professionally produced motion picture, is clearly a step in the right direction. That’s why communities of color have been focusing on this for decades: It’s a chance to render erased histories visible in a particularly physical way, taking up space the people in these histories have long been denied, and becoming a source of pride for communities of color. It’s hard to imagine any rational, good-faith objection to that: After all, white reenactors have been claiming for decades that education and pride in history is the whole point.
I am not a big fan of reenactments. I don’t go to them. Reenactors think that history is all about authenticity–wearing the right number of buttons on a uniform or marching in a way that reflects the time period. )Check out the late Tony Horwitz’s book Confederates in the Attic on this front). This approach to the past fails to let the past speak to the present and vice-versa. Reenactments are antiquarianism, not history. The doing of history requires an exploration of context, change over time, causation, contingency (which I guess could be captured in an reenactment as fans watch actors make choices), and complexity.
Yet reenactments, like historical movies or Broadway shows, do get people engaged with the past. They have the potential to get observers to learn more about the past through reading or a visit to a historical museum that properly curates the past.
But the reenactment of the German Coast Uprising seems to be more of an example of reenactment as activism rather than reenactment as antiquarianism. In other words, this seems to be something quite different from the traditional Civil War reenactment. The goal is both understanding and social change.