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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: living history

Tavern on the Green

28 Sunday Aug 2016

Posted by kittycalash in Events, Living History, Reenacting, Research

≈ 2 Comments

Tags

18th century, authenticity, common people, Events, interpretation, living history, Newport, Rhode Island, Rhode Island history

[Not] Mrs Guernsey and Mrs Holstein

[Not] Mrs Guernsey and Mrs Holstein

The wags will quip and Mr M certainly did, to my delight, though I might more properly have been Mrs Fjäll, but that’s neither here nor there.

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We offered games, beverages, and tavern food as best we could in the makeshift setting of Washington Square in Newport and served as the site of an impressment riot based on incidents involving sailors from the Maidstone in June, 1765. Custom had been brisk before the Royal Navy so rudely imposed upon our establishment, and dragged off some of our best patrons– leaving their debts unpaid, of course.

Barmaid. Bouncer. Bobby.

Barmaid. Bouncer. Bobby.

We resorted to more gaming, though even that was risky: a young, possibly motherless thief whose trousers barely contain his calves made off with our winnings, and had to be chased down. Fortunately, despite her propensity to smoke, the barmaid was able to apprehend him and, money restored and apology made to Mistress B, we allowed him at our table– I believe we are a better influence than the company he had been keeping, as our trade is honest even if modest.

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Much was on offer in town on Saturday, and while Miss C had advertised Hogarth and Sandby throughout the morning, by late in the day, she still had no offers, and the pair were advertising themselves effectively. ‘Tis a pity, for with fish unsold, another day passes and Miss C’s gown remains in pawn, and her shiftless husband’s shoes as well– even the Navy did not want him, for he professes never to work and affects half-wittedness that conceals his natural wit.


Despite hiccups along the way, setting up a tavern on the green, even in this kind of makeshift way, allowed us to do something I’m always excited about: interpret the history of working women. Serendipitously, one of my favorite books delves into the history of women and business both large and mostly small, and examines Newport. The Ties that Buy, by Eleanor Hartigan-O’Connor is one of the best books on 18th century women’s history that I’ve read, making clear that women, despite their restricted legal status, conducted business, had lines of credit, sued for non-payment of debts, and participated in expanding consumer networks. This book, in addition to research into punch, alcohol, Rhode Island taverns (and I’ve got ready access to tavern ledgers) grounded the interpretation of the Sign of the Two Old Cows. The best part of the intersection of living history and research is bringing actual people from the past to life, and reshaping the way the public understands and appreciates history. For Two Old Cows and a book, I think we did pretty well.

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Fashion, Fantasy, and Intention

13 Saturday Aug 2016

Posted by kittycalash in Art Rant, Clothing, Living History, material culture

≈ 2 Comments

Tags

18th century clothing, common dress, Costume, fashion, interpretation, living history, Reenacting

Fort-based: as military as I get.

Fort-based: as military as I get.

I am not a costumer, not really. But I’m not really a re-enactor in the classical sense: I no longer roll with a military unit and my military experiences are typically fort-based domestic activities. My favorite events have me representing women’s work in the past, the quotidian experiences of ordinary people. Documentation is my thing: what happened on a particular day, in a particular place. Who was there? What were typical clothes? The foods in season? The gossip of the day?

A Lady's Summer Promenade Dress, 1800.

A Lady’s Summer Promenade Dress, 1800.

And yet. Everything I do is really a fantasy, even when it’s work. We are not [yet, always] using the actual words people spoke or wrote. We typically inhabit characters who are grounded in fact but for whom we do not have full documentation. We are representations. We are playing, more than we are being.

I could easily be persuaded to take a walk along a sea wall  or coast to collect seaweed samples for pressing. This would inch me into Austen territory, especially if my friends will join me. I’ve even gone to the lengths of acquiring an appropriate hat, and to make another gown is but nothing in the pursuit of happiness.

Mary Gunning, Countess of Coventry. Jean-Étienne Liotard,.

Woman in a Turkish interior Pastel on vellum, Jean-Étienne Liotard, 1749. Museum of Art and History, Geneva.

If I could truly be a fabulist, I might be tempted to adopt a style a la Turque, for a portrait by Copley or for my paramour. This portrait by Liotard– who was known for his Ottoman works—  is a great temptation, with her patterned overdress and belt with golden clasps, though she is thirty-three years earlier than The Abduction from the Seraglio, Mozart’s comedic and trendy 1782 opera.

If I made myself a Turque (and Reader, it is tempting though useless), I will confess it would be for the multiple pleasures of wearing it, knowing why it had been worn in the past, and for the pleasure of having it taken off me. Because we forget what the European fascination with exoticism and Orientalism meant: they meant sex. The Abduction itself is, in essence, a tale of sex trafficking.

And that is something we do forget about the past, that the clothing we adopt as we portray the past had meaning– sometimes a meaning we miss, when we layer costume upon clothing. Wives and mistresses alike were portrayed a la Turque, and some theorize that this style of portraiture was chosen to portray the sitter in timeless, classic dress. For Copley’s sitters, it was a way to be at the height of London fashion; for Lady Mary Montagu, Turkish dress allowed her to travel freely in the Ottoman Empire. But portraits of women in Turkish dress situated in Turkish interiors were also allusions to polygamy and to sexuality, and there is no way of escaping the fact that paintings of women were largely made for men.

So what, then, of fantasy dressing in the past? What sense can we make of historical representations of “Oriental” fashion? How do we understand what our clothing and our appearance means? Every choice we make is layered with meaning, in the present and in the past.  For women, routinely objectified by society, the meaning of our clothing is particularly important, even when, or perhaps especially, when it is not what we want to focus on.

 

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Documented Fantasies

08 Monday Aug 2016

Posted by kittycalash in Clothing, Events, History, Living History, Museums, personal, Reenacting, Research

≈ 5 Comments

Tags

19th century, 19th century clothing, art history, authenticity, Events, fashion, Federal style, happenings, interpretation, living history, performance art, Reenacting

It was three years ago on a warm August afternoon in the museum room we’d turned into a photo studio when I quipped, “All my fantasies are documented.” It’s been hard to live down ever since.

With Mrs B watching Miss B self-perambulate upon the sidewalk.

With Mrs B watching Miss B self-perambulate upon the sidewalk.

Documentation, research: we all do it, everyone who reads this blog does it. What matters is how you use it– or, maybe even more importantly, how well you understand how you are using your research. This past weekend was the Salem Maritime Festival, and round number three for me in the West India Goods Store (WIGS, which sounds far more political than it is). The year was 1804, and as you may recall, that required a new dress.

Reader, I wore it. And it survived!

Yes, it is made from an IKEA curtain. The pattern is my own, derived from examples in Janet Arnold, at Genesee, and the KCI. Once again, I discovered the power of upper body strength and leverage. It’s not that my stays are too big necessarily. The busk is too long, that I will grant you. But I think the shoulder straps are as well, and the shift– that slattern! She was rolling a la Renaissance Faire, which is completely unacceptable, of course, as she slid down my right shoulder by the end of the day when the shop had been unpacked into the conveyance.

So let us focus on the non-slattern part of the day, when a mercantile enterprise briefly overtook the WIGS.

Behind the Counter
Behind the Counter
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There was some custom, though numerous debts were recorded in the ledger.  (Somehow, there are no images of Mr K sweating over the figures in the book, though I recall them clearly.)

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The shop was hot, but we attempted to stay fed and hydrated, as we discussed the various kinds of goods imported to places like Salem and Providence in 1804. Politics were rather difficult to discuss, as Mr K has a marked antipathy for Mr Jefferson that caused a mild agitation; expanding the country does seem a bold and perhaps unconstitutional move, given the deal Mr Jefferson has struck with Bonaparte, but perhaps this is for the best. The Indians will surely benefit from Christianity and education.*

It’s engaging in the moment, and we’ve done our research. But it’s a fantasy nonetheless, a kind of happening grounded in primary sources and material culture. I’m OK with that– I understand what I am doing– but I wonder sometimes if the people I’m watching on social media understand what they are doing with the fantasies they portray.

 

 

* To be SUPER clear, I’m staying in character here. I worked in Missouri and I have enough understanding of “manifest destiny” to disagree with this point of view.

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Friday’s Fright: A Dress in White

05 Friday Aug 2016

Posted by kittycalash in Clothing, Events, History, Living History, Research, Uncategorized

≈ 1 Comment

Tags

19th century clothing, art history, Costume, Events, fashion, Federal style, living history, Research, sewing

The Frightened Girl, oil on canvas by Cephas Thompson ca. 1810. MFA Boston, 1986.397

The Frightened Girl, oil on canvas by Cephas Thompson ca. 1810. MFA Boston, 1986.397

Two paths crossed for me this week, both in the early Federal era. Cephas Thompson, a self-taught New England painter, recently became very interesting to me. Although he grew up in Massachusetts, Thompson painted extensively in Virginia, but also in Providence, so of course the story resonated with me. But even more than the story, I loved the images. What a show the portraits would make– and he seems to have painted miniatures as well– so when I met with a local preservationist who turned out to be a fellow art school fugitive, wheels began to turn.

“What clothes!” my new friend said.
“I can get you a room full of people in those clothes,” I replied. And what fun would that be, a gallery opening where the people in the portraits appear to have come to life? Beats the pants off mere mannequins, but keep your Cossacks on: this one’s gonna take a while. In the meantime, what about those clothes?

Salem Register, July 14, 1803.

Salem Register, July 14, 1803.

Saturday marks the third time I’ve been part of the Salem Maritime Festival, and once again the West India Goods Store will be the base of operations for a mercantile enterprise. Millinery has its charms, but this year, the park historian shared fascinating notes on “She Merchants” of Salem, and the Hathorne sisters really intrigued me. Drunk Tailor dug into online newspapers (harder than ever to access remotely) and found an 1803 issue of the Salem Register

That’s an incredibly helpful list of goods to sell (and to pack from the Strategic Fabric Reserve), but a new year means a new dress, of course, and for reasons still not entirely clear to me, this seemed like exactly the right time to wear white. That’s sort of where Cephas Thompson comes back into play: white dresses.

Mrs. Cephas Thompson (Olivia Leonard). Oil on canvas by Cephas Thompson, 1810-1820. MMA, 1985.22

Mrs. Cephas Thompson (Olivia Leonard). Oil on canvas by Cephas Thompson, 1810-1820. MMA, 1985.22

There’s a pile of white cotton and white linen on my table, ready to be packed up this evening: with the dress on for a fitting, I felt like a bowl of whipped cream, the red silk Spencer and scarf the cherry on top. Happily, white and red are documentable to New England, though I would be mortified to be as frighted of a garter snake as the girl in Thompson’s painting. Strawberries and coffee are entirely different, and I shall probably require a bib for Saturday, lest my whipped cream be spoilt.

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Indocent Exposure

28 Tuesday Jun 2016

Posted by kittycalash in Events, Fail, History, Living History, Reenacting, Thanks

≈ 2 Comments

Tags

18th century, authenticity, common people, common soldier, Events, interpretation, living history, New Jersey, Revolutionary War

IMG_7288 Or, Confusion into Confusion.

Docents and volunteers: the backbone of any non-profit organization, right?

Well…sort of. I’ve worked with docents for more than a decade, and along the way I’ve learned what does and doesn’t work. What does work is intensive engagement and participation, though the occasional shock to the system can be necessary and useful. For special events, though, and in cases of turf, diplomatic relations must be opened with the enemy early and often.

That is not to fault the organizers of the “Order Out of Confusion” event this past weekend, for I was one of the people organizing the civilian, non-marching end of things, and due to turbulence in my own life, I failed to plan adequately in the arena of Docent Relations.

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We had a Retaliator, a Pine Robber, a Quaker, and a Slave-Owning Patriot. We managed a debate or two over slavery. We begged people to take the Quaker home with them. But we did not occupy the house, for the house was occupied by red-shirted volunteers who gave at least some of us the five cent Condescension Tour punctuated with, “But I suppose you’re not interested in that.”

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Actually, that look was one of sheer disbelief, sir, at the farm implements in a bedroom, the tidy piles of perfectly formed ashen coals under the cookware in the fireplace, and the roomful of flax accented with a snake charmer’s basket. In my line of work, I enjoy house tours, but find they generally go better when tour guides don’t point out all the flaws to me. Complaining about the state (which owns the site) and onerous regulations that make repairs expensive will also increase my look of horror and disbelief. But really, if you want full-on horror, kindly inform the Quaker that Japanese POW camps “really weren’t that bad” because we are thriving on confusion today.

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The volunteers were thrilled by the marchers, and were clearly very positive about the event. They love Craig House, and the battlefield, but that sense of pride and ownership made it impossible for them to share the house with us, or to see us as anything but invaders– an Army of Occupation in our own right.

It’s my fault that I’m not an agile enough negotiator to convince recalcitrant octogenarians that my friends and I are safe to play with and will respect the house, and it’s my fault that I didn’t put in place all the lessons I’ve learned in the past decade. Then again, I don’t know that I would have had time to travel for meetings with the volunteers to generate buy in and support, given the maelstrom that was my life this past spring.

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But it’s a lesson well-learned: interpreters will read voraciously, acquire tons of material, and turn that research into appropriately-dressed characters making interpretive points, but unless you work with the site and its volunteers or staff to create agreement about presentation, you’ll get about half the value of the work you put into the planning.

Many heartfelt thanks to everyone who participated, and to the organizers for letting me try out my interpretive model. Next time, I know I have to work with the site staff and volunteers to make sure that execution matches vision.

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