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Diversity and Its Discontents: A Review of Behind the White Picket Fence

Review Sarah Mayorga-Gallo's Behind the White Picket Fence explores how race, class, and ethnicity shape daily life and power sharing in "Creekridge Park," a pseudonymous multiethnic neighborhood located in Durham, North Carolina. In the early...

Queering Southern Gospel: A Review of Douglas Harrison's Then Sings My Soul

...worked in the music printing company Kieffer's grandfather, the Mennonite Joseph Funk, owned. The two reunited over a shared love of shape-note singing and a desire to reclaim "the pastoral...

Retelling Virginia's Migration History

...are biographies that also challenge the conventional trajectories of the “migrant.” In “Greece to Norfolk,” the exhibition tells of Demetrios Karkambasis (renamed James Campas) who comes to the United States...

Wild Notes: A Review of Dawoud Bey’s Elegy

...of slavery in the United States, photography and film have articulated the overdetermined image and, eventual sound, of slavery within the imagination. In both “350,000” and “Evergreen,” Bey’s exclusion of...

The Bulletin—October 18, 2012

..."The Clean Water Act at 40" (PDF) which details how a majority of legislators in eight Appalachian states have voted for bills challenging the Act, which was initially supported by...

Flit Lit in the Sweet Sunny South

...A Journey in the Seaboard Slave States? I wouldn't consider any of their work a result of flitting. But Thompson, with his bar tab calculations and his smug questions fired...

The Bulletin—February 11, 2013

...mind the recent outages during Hurricane Isaac and the slow and unequal pace of development of the city’s electrical grid post-Katrina. Recent analysis reveals that residents of several southern states had...

In the Queen City: A Reading at the Gadsden Public Library

A Reading at the Gadsden Public Library Part 2: York reads from “At Liberty (1961),” “At Liberty (1964),” and “Substantiation” Part 3: York reads from “At Sun Ra’s Grave” and...

Art, Diaspora, and Identity: The John Biggers Papers

...Biggers Papers, Emory University Manuscript, Archives, and Rare Book Library. In July 1957, Houston-based artist John Biggers traveled on a United Nations Educational Scientific and Cultural Organization (UNESCO) fellowship to...

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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