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The South as Foil: A Review of This Is Not Dixie

...states of the former Confederacy,1See George Rable, But There Was No Peace: The Role of Violence in the Politics of Reconstruction (Athens: University of Georgia Press, 1984); Lou Faulkner Williams,...

Closer to the Ground: A Conversation with Ann Pancake

...rural areas, most seemed to be set in cities, so if I got my hands on books with rural settings, they resonated more. Where the Lilies Bloom was important to...

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...

Visualizing Spatial History: The Example of Rio de Janeiro

Presentation Part 2: Frank provides an overview of the Stanford Spatial History Project Part 3: Frank discusses creating visualizations that evoke patterns and varieties of spatial mobility, consciousness, and power...

Art, Diaspora, and Identity: The John Biggers Papers

...American composer William Levi Dawson. Visiting both rural villages and burgeoning cities, Biggers was particularly struck by Oku Ampofo, a medical doctor and talented artist based near the Ghanaian capital...

Low-Wage Legacies, Race, and the Golden Chicken in Mississippi: Where Contemporary Immigration Meets African American Labor History

...Company," in The History of Leake County, Mississippi: Its People and Places, eds. Mac and Louise Spence (Dallas, TX: Curtis Media Corporation, 1984), 179–180. Meanwhile, back in Forest, a 1963...

Dancing Around the "Glaring Light of Television": Black Teen Dance Shows in the South

...Show's groundbreaking three-year run to an unceremonious end. Thomas continued to work as a radio disc jockey through the 1960s, until he left broadcasting in 1969 to work as a...

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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