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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: Reenacting

Wicked Inspiration

28 Thursday Apr 2016

Posted by kittycalash in Art Rant, History, Living History, personal, Philosophy, Reenacting

≈ 2 Comments

Tags

anarchist guide to historic house museums, Hamilton, historical reenactors, history, interpretation, literature, living history, passion, progressive reenacting, Reenacting

You know that musical? The one you can’t get tickets to unless they were willed to you by your grandmother because she was lucky enough to stumble out of the Tardis right at the box office on opening day, but had to buy them for, like, six years from now, and they’re actually for the Kansas City production? The one in which the founding fathers are, you know, brown? My friends and family assumed I’d hate the whole idea, but I don’t. Like so many people, I love it, and not just for the music, though my preferred method of psyching myself up for GeeDubs1790 or What Cheer Day is listening to the Stones or the Beastie Boys all the way up.

So, what then, interests me in “Hamilton,” and why do I think it relates to interpretation? This: the way that the show filters the concerns of the late eighteenth century through the lens of the twenty-first could make for enlightening listening.

My Shot gives me goosebumps: why? Is it because history and civics are finally sexy?

Maybe. But “Hamilton” as a whole, per Rebecca Mead in the New Yorker, “is a hymn to the allure that America promises the immigrant who aspires to reach its shores; it is also an argument for the invigorating power that this nation’s porous borders, and porous identity, have always offered.”

Porous identity. That’s part of why I’m fascinated. But just as “Sleep No More” and Occupy Providence (really really) were partial inspirations for What Cheer Day, “Hamilton” strikes me as the kind of production worth paying attention to. No, I am not suggesting that the paunchy reenactors start channeling their inner Biggie, though I might well pay to see that.

No, what I’m suggesting is that we reconsider what it is we’re doing out there on the field and in the historic houses, and not just what but how and why. Hamilton takes an unexpected approach to history and it’s going gangbusters, while Amazing Grace tanked. So it’s not about the costuming authenticity, though I implore you not to give that up. It’s about the passion. It’s about coming at things sideways.

What makes you love doing laundry, drilling with precision, telling local gossip, making soap, or whatever it is that you love best about your place in the past? Why does all this matter to you so much? What is it that we can learn about today as you teach us about the past? Let loose that love and passion, share those insights, and ten to one you’ll have more fun and excite more visitors.

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Undocumented but Not Alien

07 Sunday Feb 2016

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

≈ 1 Comment

Tags

18th century, authenticity, common people, Events, interpretation, living history, Reenacting, Research

Cherries. The Itinerant Traders of London in their Ordinary Costume, from Modern London; being the history and present state of the British Metropolis. Illustrated with numerous copper plates - British Library

Cherries. The Itinerant Traders of London in their Ordinary Costume, from Modern London; being the history and present state of the British Metropolis. Illustrated with numerous copper plates – British Library

Sometimes it’s hard to know how a riot gets started; other times, the cause is pretty clear. I’ve started one or two myself. The latest stems from Our Girl History’s musings on the Massacre.

There’s a lot to unpack, and it’s been happening online and in private conversations. Yes, children, Aunt Kitty pays attention, even if she’s silent. This is a tough topic: how can modern feminists represent historical women in a patriarchal culture without losing their minds? How can events better reflect the actual past? The population has, historically, always been about 50-50 male-female. We understand why there aren’t women on battlefields. We get that traditional events (by which I mean the ritualized commemorations of battles) have ridiculously gender-segregated and inauthentic roles. We get that it’s hard to adapt to new ideas, even free, documented ones.

The irritation and anxiety I feel as I expand the kinds of events I attend is actually reassuring: that’s how I know I’m learning. The frustration we feel means we’re banging up against a wall that we can break down with research.

Paul Sandby, London Cries: Black Heart cherries... ca. 1759. YCBA, B1975.3.206

Paul Sandby, London Cries: Black Heart cherries… ca. 1759. YCBA, B1975.3.206

It’s not easy research: women not married to or otherwise affiliated with prominent men are poorly documented. We may never know their names– or we may have a name from a census, newspaper ad, or city directory, and nothing more. But we can fill in the gaps with interpretation. (As it happens, I’ll be talking about this very idea in just a few weeks. Come taunt me in person.)

There’s a lot to think about in recreating the past, in particular at this event. The organizers have done a phenomenal amount of research, gathered the details, sorted them out, assigned roles, scripted and timed an event, and recruited a chorus of characters that reflects the texture of a tense city in 1770.

Building an event, even one that recreates an actual moment in the past, is as much as work of theatre or fiction as it is of fact: character development, motivations, costuming, setting, all of those combine with the documented words to create a scene that conveys an interpretive point for the public. It’s similar to a museum exhibition– it’s interpreted.

Traditionally, living history has interpreted the past with a bias to men’s roles (that’s the nature of our society, folks) and with a tendency to assign roles and activities by gender (again, the nature of our society for centuries). Our task in breaking that pattern is not to right the injustices of the past, for we cannot, but to interpret them.

Playing the game at quadrille : from an original painting in Vauxhall Gardens. London : Robert Sayer, ca. 1750. Lewis Walpole Library, 750.00.00.14

What about the people in the background? Playing the game at quadrille : from an original painting in Vauxhall Gardens. London : Robert Sayer, ca. 1750. Lewis Walpole Library, 750.00.00.14

One way to do that is to bring the undocumented, or poorly documented, people of the past to light. I tried to do that in exploring Bridget Connor. I’ve tried to do that by interpreting a late 18th/early 19th century servant. It’s a long and frustrating process, reading letters and diaries for scraps of information, usually casual references to servants and cooks.  But in the frustration lies the promise: we will find the people on the margins, and bring them in to clearer focus.

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Contextualize This*

26 Thursday Nov 2015

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

≈ 6 Comments

Tags

authenticity, common people, history, interpretation, living history, Reenacting, Research, resources, Revolutionary War

Right on, Mr. Hiwell: The music of the Army being in general very bad is a post I could never write, because I lack the detailed knowledge, or the desire to acquire music-specific knowledge (just as Mr Hiwell could give two rats’ about stay-making details, or the subtleties of stew). But here’s the gist of his post, on which I wish to elaborate, and which has been touched on elsewhere: You’re Doing It Wrong.

Let’s take this:

I’m tired of going to events, knowing all the camp duties fifers and drummers played from sunrise to sunset and never playing a single one of them besides Drummer’s Call and Assembly.

One of my favorite hobby horses: lack of discipline and camps that look like that Infamous Catalog just puked on a field. Why on earth can we not see tents are set up properly, in rows, with appropriate numbers of kitchens instead of wobbly lines, marquee tents that disgorge giggling teenage girls in bodices, and enough iron to make the scrap man sing with joy? 

But even then, even if people are too lazy or stubborn to leave stuff at home, why can’t a camp run the way it would’ve? There’s ample documentation on which to draw. Quite aside from the voluminous papers of General Washington and General Greene, and the massive archives in Britain, every regiment had orderly books, of which many survive. They’re hilarious reading and full of things to do.

Most reenactments are boring. Well, so was army life. The 10th Massachusetts was constantly in trouble up on the Hudson late in war, and the Marshall book at the Society of the Cincinnati contains the proof.

Here’s something fun to do: inspection. Huts, cabins, tents: they all needed to be kept neat., and apparently weren’t.

Some part of the Camp and about the long Barracks in particular is relaxing into nastiness. Regimental QuarterMasters have been ordered to have them Clean and keep them so. An Officer of each Company has been ordered to visit the Barracks every day and to Confine & Report those who throw bones of meat Pot Liquor or filth of any kind near the Barracks. Yet all this has been done and no report has been made. it is hatefull to General Howe to Reitterate orders as it ought to be shamefull those who make it necessary.

Don’t like to clean, prefer cooking? Marching?

Regimnl Orders June 6th 1782

the Regiment will turn out to Morrow Morning at the Beating of the Revelee and to March By Six oClock they are to pack there clothing and kook there provisions this Evening when they have arivd on the Ground for Encamping the officer commanding on the Spot will order a partry if Forty men from the Regiment a Capt and two Sub’s to Command them to Return to the Encampment in order to asist in Bringin on the Baggage the Soldiers are to Carry there kittles in there hands and are to Leave there arms and pakes &c at the New Encampment any Soldier who is found Plundering another pack is to be tyd up and punished with out Trial..

Tyd up and punished without Trial. You know there’s a guy who’s up for that in every unit.

And lest you think that there’s nothing for women in these books, let me assure you, there is:

Regimental Orders, July 23rd 1782

At a Regimental Court Martial whereof Capt Francis is president, Briget Conner a Woman Belonging to the 10th Massachusetts Regiment was tried for purchesing a publick Shurt from a Soldier in Sd. Regiment found Guilty and Sentanced to Return the Shurt to the person from whom she purshest it and loos what She gav for the Shurt.

The Colo approves the opinion of the Court and orders it to take place Immediately

Regimental orders July 25th 1782

Bridget Conner a woman Belonging to the 10th Massachusetts Regiment is Directed to Leave Camp Between this and to Morrow Morning at Roal Call for her Insolence to the officers of sd Regiment on pane of Being Treated with Severity

This is easy, people. Authenticity, accuracy, and Stuff to Do increases exponentially if you use documentation to recreate a “normal” day in either army.  There’s Cuthbertson, for example.

cuthbertson.png

There’s Lochee, if you want to get in tents. And orderly book after orderly book. And if I, a mere woman, can find these things, there is no excuse for you men not to read, absorb, and use these sources well.

Inspections. Returns. Reports. There’s so much to do in a day, and running a camp or a barracks by the regulations would give everyone so much more to interpret, and begin to present real history instead of merely heritage. This is where the real splits are going to come, and sooner than you think. It won’t be about uniform details, or stitch and thread counts, but about actually engaging historical interpretation. If interpreters aren’t engaged, the public won’t be either.

 

*If you know me, you know what the next word is.

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A Side of Oysters

24 Tuesday Nov 2015

Posted by kittycalash in Art Rant, Events, Fail, History, Reenacting

≈ 2 Comments

Tags

authenticity, common people, history, interpretation, living history, Reenacting, women's history, women's work, work

Or, Fleshing Sexism into History

06512-2

Here’s a bitter blog post instead of the angry one someone expected after the Turkey Shoot. It started elsewhere with a discussion of this print: there’s more going on in this, and in many genre images of oyster girls and oyster sellers, than you notice at first glance. (First glance is that fab-u-lous bonnet.) There are clues, though, that she is selling more than just oysters. It’s a code, remember? The gaze is one clue, though it reminds me of a cholera victim’s languor.

Yes: this image suggests she is also selling herself.

It’s something I’ve thought about doing as part of my street vendor/Bridget impression. Transgressive, dangerous: true. As a milliner, I’ve had a money bag shaken in my face, coins rattling suggestively, a sailor eager to spend his pay. Milliners and seamstresses both had reputations as women of exploitable, if not overtly easy, virtue. They’re a classic trope in 19th century literature, though I suspect the real reason for the suggestion of looseness was economic independence. But women certainly were selling themselves in the past, so why not portray that reality with carefully selected, trusted role players?

circle_of_francis_wheatley_ra_the_oyster_girl_d5466162h

For one thing, it’s dangerous. You’d have to script it, and interact only with really trustworthy people. It’s not family friendly, though despite the strenuous efforts of some sites, actual history isn’t family friendly either. (I’m looking at you, CW .)

I ponder this role, and women’s lack of power historical, as I ponder Fort Ti and nurses’ reputations, carefully maintained in Army hospitals in later wars. (Not to fear, I will behave, honest.) And I also ponder it as I continue to struggle to understand the Gun Show, the misogyny in the hobby, and the general misogyny of American culture. Like many others, I’ve read this blog post,, and some of the more annoying comments. Yes, I, too, de-escalate now and have in the past. Some of the changes I’ve made in my life revolve back to this concept, and have to do with authenticity and stepping back from de-escalation, subsumation, and self-repression. So why would I not continue that process into my historical work and play?

philip_mercier_the_oyster_girl_d5714611h

As I wonder how to spin a feminist interpretation of women’s marginal roles and drudgery in the past, it occurs to me that forcing the women’s economic disparity and lack of agency to the foreground might provide an answer. Selling myself along with oysters, apples, or cherries might finally make the points I want to not just about women’s lives historically, but about women’s roles today.

(I’ve already made the jokes about hands-on demonstrations, so y’all can keep ‘em yourselves, okay?)

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A Day in Time

08 Thursday Oct 2015

Posted by kittycalash in Uncategorized

≈ 5 Comments

Tags

authenticity, common people, common soldier, history, interpretation, living history, Reenacting

You know what’s wrong with most reenactments and living history events?

They’re not actual days. They’re fragments of many days jammed together like a fractured mosaic.

It’s tough and tiring to imagine and script and play out a whole day—all the simultaneous pieces—but if living history or reenacting events were run as A Day In Time, there would more likely be:

• Roles for More [kinds of] People
• Contextualization of Events
• Boring Bits like Paper Work
• No Time for Spinning
• Moar Drilling
• Rations & Messes, Actually
• Moar Drilling
• Courts Martial
• Small Acts of Drama Amid the Quotidian

Of course, y’all would have to work together…but imagine the power if an entire event ran the way a military camp should be, would have been, run. Orderly books provide plenty of ideas, entire days of stuff to do and get in trouble for.

Stop splitting, start lumping, and these events will, at last, become truly engaging on both sides of the rope line.

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