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Katrina + 5: An X-Code Exhibition

...of New Orleans after Katrina. Although outdoors the codes are fading and disappearing, the X-code photographs, recorded by anyone in the vicinity during the last five years with a camera,...

Shared Space, Separate Pasts: Versions of Slavery in Charleston

...sculpture was placed on a high pedestal. This challenge and response was a minor skirmish in the long-running and largely one sided contest between historical narratives chronicled in Denmark Vesey's...

The X-Codes: A Post-Katrina Postscript

...markings, 2007. The location of the code on a building was often an indication of when in the progress of the flood a search had been conducted. A code...

Prop Master at Charleston's Gibbes Museum of Art

...The shape of Juan Logan and Susan Harbage Page's installation mirrors that of the gallery in order to comment on how culture — rituals, codes, manners, and customs — is...

Wanted eLove: Queer Square Spaces and the Revolution in Digital Intimacy

...Foundational to the homotextual literary-activist tradition in the United States is this tension between what Martinican poet-philosopher Édouard Glissant might call transparency and opacity, the desire for love between two...

Transcript of "When I Say 'Steal,' Who Do You Think Of?": Part Two

...acreage on the Cahaba River as a "bonus"—as in for doing something good—for fighting native nations in those wars. And from the time of settling there in the 1830s until...

Southern Spaces: A Partial History

...by hand, using the coding view in Dreamweaver. I tried to code it all in xhtml. As we brought on additional students to help—Sarah Toton, Steve Bransford, Paul O'Grady, Jere...

Residues of Border Control

...do not show encounters between Border Patrol officers and migrants, but they depict the rubber gloves and bullet casings. They do not follow immigrants into detention, but register the residue—detention...

References
1.	I attended and observed preparations for the Moore’s Ford reenactments in 2007, 2008, 2009 and 2010. I have interviewed many participants in the 2005 and 2006 reenactments.
2.	For an account of earlier memorial practices at Moore’s Ford see Mark Auslander, "'Return to Sender:' Confronting Lynching and Our Haunted Landscapes.“ Southern Changes, Vol. 24, No. 1-2, 2002, pp. 4-7.
3.	Inge Nielsen, Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange between East and West in Antiquity (Aarhus, Denmark: Aaruhus University Press, 2002).
4.	Rory Tuner, “Bloodless Battles: The Civil War Reenacted,” The Drama Review, Vol. 24, no. 4 (1990).
5.	Alice Correia, “Interpreting Jeremy Deller’s The Battle of Orgreave,” Visual Culture in Britain, Vol. 7, no. 2 (2006).
6.	Oren Baruch Stier, “Different Trains: Holocaust Artifacts and the Ideologies of Remembrance,” Holocaust and Genocide Studies, Vol. 19, no. 1 (2005).
7.	Jo Blatti, “Field to Factory: Afro-American Migration, 1915-1940,” Oral History Review, Vol. 16, no. 1 (1988). The exhibition was curated by Spencer Crew and designed by Jim Sims.
8.	Handler and Gable report that white reenactors and staff at Colonial Williambsurg tend to minimize the cruelty of the slavery system. Richard Handler and Eric Gable, The New History in the Old Museum: Creating the Past at Colonial Williamsburg (Durham: Duke University Press, 2002): p.225.
9.	James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, no. 4 (1999): p. 30.
10.	The protests against the auction were organized primarily by the local NAACP and SCLC chapters. In her detailed analysis of this episode Lisa Woolfork argues that much of the local African American opposition to the auction was deeply gendered; senior male African American activists and civil rights leaders, she suggests, were offended that the auction was conceived of and planned by female African American professionals at Colonial Williamsburg. Lisa Woolfork, Embodying American Slavery in Contemporary Culture (Urbana: University of Illinois Press, 2009). See also James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, No. 4 (1999).
11.	In spring 2010 a Lumpkin County, Georgia high school history teacher was placed on leave after her students, planning on creating an anti-racist film about lynching, walked through the school cafeteria wearing Klan robes. See: http://www.wsbtv.com/news/second-teacher-at-center-of-kkk-controversy/241731973.
12.	I wish to emphasize that local community disagreements with the urban-based organizers of the reenactments, over issues such as the age of the vehicle, were nuanced and low key. Nearly all local participants would be extremely reluctant to offer public critique of a figure such as Representative Boyd, whom is widely regarded in the Georgia African American community as a hero of the civil rights struggle.
13.	It is interesting to note that in 2008 a friend of Jane’s, one of the organizers of the performance, made the doll out of nylon pantyhose. So in that year the doll and Martin’s shirt shared powerful affinities, both were articles of clothing stained with blood.
14.	Roland Barthes, Camera Lucida, tr. Richard Howard (New York: Hill and Wang, 1981).

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