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Telling the Raymond Andrews Story: The Making of Somebody Else, Somewhere Else

...history of the twentieth century. He was a child during World War II and wrote vividly about his memories in the Plainview neighborhood near Madison. Although his stories featured African...

Southern Memory, Southern Monuments, and the Subversive Black Mammy

Southern Memory, Southern Monuments, and the Subversive Black Mammy Question and Answer Wallace-Sanders responds to questions about the photographs she uses, the proposed Mammy Memorial Institute, the political responses...

Whatwuzit?: The 1996 Atlanta Summer Olympics Reconsidered

...as the largest urban center in the American South could not be sidestepped. "The Games pose the question about just which image is closer to the real South," Peter Applebome...

"Our Country"—Benjamin E. Wise's William Alexander Percy

...Bertram Wyatt-Brown, The House of Percy: Honor, Melancholy, and Imagination in a Southern Family (New York: Oxford University Press, 1994), 205; Richard H. King, A Southern Renaissance: The Cultural Awakening...

Call for Papers from The Southern Quarterly: Special Issue on "The Mississippi River and Southern Icons"

...of Microsoft Word documents to SouthernQuarterly@gmail.com are preferred over postal delivery. About the Journal: The Southern Quarterly is an internationally-known scholarly journal devoted to the interdisciplinary study of Southern arts...

Besieged Terrain

...from a strip mine on its south-southeast border, Robinson Forest, Kentucky, 2009. Photograph courtesy of Kentucky Heartwood. Strip mine on the south-southeast border of Robinson Forest, Kentucky, 2009. Photograph courtesy...

Reuse, Author Choice, and the Open Access Spectrum: New Creative Commons Licenses for Southern Spaces Authors

Southern Spaces is now offering authors the option of distributing new work published in the journal under a Creative Commons license. Beginning in 2014, in addition to retaining copyright of...

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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