Occupy Princeton

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Morven Museum (Richard Stockton's house) under occupation. Photo by Al Pochek

Morven Museum (Richard Stockton’s house) under occupation. Photo by Al Pochek

What if they had a reenactment and there was no battle? Can you really interpret military history without a battle?

Why yes; yes, you can. And you can do it well, engaging and exciting visitors and interpreters alike.

Last Saturday, Princeton was under British occupation once again, as we recreated the winter of 1777 this past weekend. I joined the planning for this  back in October– I double checked– and it really started months before that. Many hands (and imaginations) make events like this work, but for me, the most exciting part was helping to produce an essentially civilian day of programming that interpreted the Revolutionary War in New Jersey. Yes, there was “a musket thing” mid-day, but that wasn’t the focus of the action.

The ink froze, but oaths were to be signed anyway. Photo by Al Pochek.

The ink froze, but oaths were to be signed anyway.

HM 17th Regiment made their base of operations/occupation the porch of Morven House (formerly Richard Stockton’s residence) while the populace of Princeton attempted to go about their daily lives in Palmer Square. Quakers found themselves pressed to sign the Oath of Allegiance to King George III, despite their protestations that they could not take sides in a war.

Quakers and citizens, surrounded by occupying troops, listen to the officer's exhortations. From instagram @thebentspoon

Quakers and citizens, surrounded by occupying troops, listen to the officer’s exhortations. From instagram @thebentspoon

Some citizens seemed all too eager to sign the Oath, though rumor had it that one had previously pledged his loyalty to the rebel cause. (Sources have it that by the summer of 1778, this miscreant will be exacting revenge upon his neighbors as a Retaliator.)

Vignettes were drawn from documentation like the Brief Narrative of the Ravages of the British and Hessians at Princeton, 1776-1777:

“Triumph on that Days Victory the noted third day of January 1777 when they took two men and a Woman that could not stand Prisoners one of the men being much younger then the other & haveing shoes on made his Escape The Woman being unable to march they left her so they had in truth none from Princetown to Crown their Conquest with but the poor Old Captive without shoes. This is the Renowned Victory Obtained that day near Prince- town Which (it is said) is amply set forth in one of the New York newspapers 1 to be a Compleat victory obtained by the Regulars over the Continental Army so far as I have Related is true according to best Information that I can get, And so far I agree with that news Paper that the Regulars gained a Victory over two men and one woman. …. In takeing these three Prisoners they violated three of their Officers Protections for the two men had Each of them one, and the Womans Husband had another Besides they are all Reputed Quakers…” (Brief Narrative pp 18-20)

Lance Corporal Becnel proved himself in the afternoon.

Lance Corporal Becnel proved himself in the afternoon. Photo by Al Pochek

The constant snow kept our shoes on, but goods were stolen, occupants assaulted, soldiers beaten, prisoners taken, and justice served.

Hardy visitors followed us from Morven to Palmer Square and back, and one of the most exciting moments of the day for me was when a visitor said, “Wow, so the [British] soldiers didn’t really protect you, did they? You couldn’t count on them to keep you safe!” This seemed a pretty good summation of our interpretive goals:

  • The British failed to win the “hearts and minds” of New Jersey residents because they turned liberation into occupation.
  • The British lost the war in New Jersey because they treated everyone as a traitor.
  • The revolutionary war in New Jersey was as much a civil war as a rebellion against the crown.

I count that a major win for living history.

Trigger Warnings

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Reenactors portraying Philadelphia Associators take part in the real time tour of the Battle of Princeton, Princeton, NJ, January 3, 2015. Beverly Schaefer, Times of Trenton

Philadelphia Associators January 3, 2015. Beverly Schaefer, Times of Trenton

It’s upon us, this Princeton event, and Peale’s, too. And the overnight march I missed two years ago. I’m so glad to be part of this, and I’m interested in seeing where it goes from here– partly for me, and partly for the way we do living history. Now, I’ll miss some of what I’d like to see (like Mr. White’s tour of the second battle of Trenton, but when you’re plundering in Princeton, you’re committed.) A formal media release may be downloaded here.

A little more than two years ago I was asked if I wanted to join the Peale’s March to Princeton. I said no, because women couldn’t march and that was the experience I wanted. Someday, I will have the hallucination that allows me to square experiential learning with authenticity, and, at the same time, the world will care about having a women’s Tour de France.

Anyway: there’s a point. This event became a pivot point for me in thinking about accuracy and authenticity of all kinds.

Accurate impressions rendered in a place of shared value will transport you to the past, and give you insights you did not expect. That is the point of these exercises: insight and understanding. It’s how to get high on history.

Test run: bedspread petticoat. Girl's gotta keep warm.

Test run: bedspread petticoat. Girl’s gotta keep warm.

In Palmer Square and at Morven, that means stealing (from each other), soldiers arresting Quakers, Loyalists and Whigs insulting each other, arguments about loyalty oaths, and women being attacked. (When you see the grey gown grabbed off the square by the red coat, please know that this is acting.) It means rough justice in a drum head court martial.

Will it work? I think so. Will it change my life, the way not attending two years ago did? That will depend on what I regret.

Make Mine Menswear: The finished banyan

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Banyan, 1750-1775. T.215-1992, V&A Museum

Banyan, 1750-1775.
T.215-1992, V&A Museum

Banyan or wrapping gown, either will do to wear as the year winds down. This project took longer than I wanted it to, mostly because I have a tendency to take on too many things at once and promptly get sick. I like to think of this ability as a gift.

In any case, this is a simple garment to make, made more fun by piecing– it’s the challenge that keeps you awake, when the majority of the work is in teeny-tiny back stitches.

I measured the subject and made up my own pattern, using the chintz banyan in Fitting and Proper and this one at the V&A as models.

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Patterning is a simple thing, really. Maybe too simple. Measure the gentleman’s chest, bicep circumference and arm length, neck, and back length. With those, you know how wide to made the body, the center back length you need to achieve, how wide to cut the neck hole, and how wide and how long the sleeves need to be. Really, not that hard.

You can use a diagram like this to start you off. I did wing the bottom width, guessing at the angle to give the garment a fullness similar to the chintz at the V&A.

I didn’t have quite enough fabric to accommodate the recipient’s full height, nor could I get enough of the red print lining material; I had to piece both the stripes and the lining.  Trying to match up the stripes was remarkably satisfying, both when I succeeded and when I was  little off. Life Goal: Dizzying, please.

Again with the two color lining.

Again with the two color lining.

It contrasted well with a blue woven coverlet, making a nice bright note as the rooms were prepped for What Cheer Day. This was the effect I had hoped to achieve waaay back in April when I failed to finish anything I wanted for the After Dark program thanks to a bout of strep throat.

By October, though, I was able to finish the entire item and make a matching cap, allowing Billie Bowen to recuperate in style from an evening at the Cold Meat Club.

Next up, using this as the base pattern: a wool bedgown, lined in wool, and pieced. More mis-matched stripes, please!

Staging Christmas

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The house on High Street, Noank CT, 2000

The house on High Street, Noank CT, 2000

It’s pretty stagey to begin with, isn’t it? Full of ritual, some so old we don’t know why we still perform them. What I like best is the food, not the cakes and cookies, delicious as they are, but savory meals and the warmth of a full table. Second to that, decorating.

The past year has given me opportunity to reflect on the tasks I love, and why, and the basis for the work I’m passionate about. Curiously, it began in high school, as the props mistress for drama productions, morphed into installations, performance art, and site specific sculpture in college, before metastasizing into exhibition development, installation, and historic house interpretation with a side line in living history because, you know, costumes. Things and I go way back, and thinking about that made getting ready for yet another Christmas more fun.

Providence, 2016

Providence, 2016

Embracing the staginess makes the sometimes uncomfortable family closeness easier; I have proposed celebrating by reenacting a Don Draper Christmas, as long as someone else does the driving. Adding a layer of actual performance somehow made it easier to understand, a phenomenon opposite to what happens when you write a word over and over until it makes no sense. It’s the same distance you feel when you really try to understand someone’s past, and how they think. It’s familiar, but somehow unrecognizable.

This is probably the last Christmas in this apartment, which adds a poignancy to the proceedings, and it’s the first interactions for some participants, so, as with What Cheer Day, I’ve set a stage and we’ll see what happens.

Christmas with Katie, Chicago.

Christmas with Katie the Cat, Chicago, ca 1978

Every year, some things are the same: a balsam fir, candles, apples, cats. The characters and locations ebb and flow, with some consistency. Cats come and go, the boy grows. The love remains the same.

Museum Fail: Icon, not Replica

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What am I?

Do you know what this is? Do you think it’s real? Here’s a clue: it’s a relic of an iconic event in early 21st-century North America.

On the last visit to the National Marine Corps Museum, I watched the tourists circle objects at the end of the traditional galleries and displays, and overheard a woman ask her companions:

What’s this a replica of?

Reader, I cringed– and not for the sentence construction.

What's this a replica of?

What’s this a replica of?

And then I stepped back. I thought that for someone my age it would be obvious. Here, have some additional museum context.
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In a museum where everything is real, how does a visitor come to ask not only if that World Trade Center steel beam is a replica, but what is it replicating? I’m not sure semiotics can save us here. My first, New York Times-reading, media-soaked, Northeast Corridor response was, How can you miss that? How can you not recognize that, let alone mistake the steel and concrete relic for a replica?

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Ah, hubris. There is a label, though I have seen better. Would it be more helpful in a larger font, turned perpendicularly to the I-beam? Possibly. But the lesson that’s deeper than label formatting and placement is recognizing how much we take for granted. Our visitors, even those we assume to be educated consumers of media and information, may not share our knowledge base. They may not read objects or images as readily as we think they do; we certainly cannot assume they’re all taking away the same information– and that has nothing to do with education or background.

Everyone truly sees the world differently. How, and what, we choose to put on a label should always be grounded in remembering that we do not all share the same information. Context is critical, and probably would have made these relics more real, and less replica.