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Southern Spaces

A journal about real and imagined spaces and places of the US South and their global connections

Nostalgia May Not Be the Right Word

...inscape, or individuation, sounds so close to terror you'd confuse the two, as if the finest and the rarest blend would come with just a hint of fear or pain,...

The Black Belt

...dialect, trying to depict the dwellers of the Black Belt as I felt and saw them.” New York, New York. Portrait of Richard Wright, poet, May 1943. Photograph by Gordon...

Nowhere [yet Everywhere] in the World: Cuban History and Sexuality in the Dramas of Abel González Melo

...and the idea of recasting history for new audiences and times. He discusses how he drew from lived experience in Havana to craft Winter Escapes as well as how his...

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

...away through the university, through being a mind. My plan was to take the route of the individual escape—the safety of self-fulfilled individualism—that capitalism offers. I tried to escape the...

"Looking Back and Moving Forward": The Records of the Southern Christian Leadership Conference at Emory University's Manuscript, Archives, and Rare Book Library

...He also spoke out against the war in Vietnam and kept up a rigorous schedule of promoting SCLC’s work and garnering new supporters. Financial problems and internal tensions ultimately led...

Remnants of Flannery

...largely set in-and-around New Orleans; Seth Grahame-Smith's 2010 novel Abraham Lincoln, Vampire Hunter and the 2012 film of the same name, which reimagines slaves as food for vampires and the...

The Suburban Wild: Coyotes in Druid Hills

...Today, the area has become a prominent suburban enclave near Atlanta's urban center. Celebrated landscape designer Frederick Law Olmsted drew the original plans for Druid Hills in the late nineteenth...

Born In Violent Conquest: A Review of Jacksonland

...Missionaries, 1789–1839 (New Haven: Yale University Press, 1984); William G. McLoughlin, Cherokee Renascence in the New Republic (Princeton: Princeton University Press, 1986); Thurman Wilkins, Cherokee Tragedy: The Ridge Family and...

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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).