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The Public Memory Work of the Women's Rights National Historical Park

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The Public Memory Work of the Women's Rights National Historical Park Syracuse University SURFACE Theses - ALL December 2014 Sights and Spaces of Moving Memory: The Public Memory Work of the Women's Rights National Historical Park Alia Renee Bellwood Syracuse University Follow this and additional works at: https://surface.syr.edu/thesis Part of the Social and Behavioral Sciences Commons Recommended Citation Bellwood, Alia Renee, "Sights and Spaces of Moving Memory: The Public Memory Work of the Women's Rights National Historical Park" (2014). Theses - ALL. 80. https://surface.syr.edu/thesis/80 This Thesis is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Theses - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract This project analyzes the rhetoric of the Women’s Rights National Historical Park in Seneca Falls, New York as it expresses the historical context and effects of the 1848 Women’s Rights Convention. With an eye towards feminist possibilities, the project traces the politics of emphasis and erasure by accounting for material, spatial and visual strategies in the Visitor Center and historic buildings. I argue that the park influences and reflects public memory of the early American women’s rights movement that has rhetorical implications for modern iterations of the movements that follow. Alongside archival research, I critically analyze the experience of the visitor, as indeed I position myself in my onsite research, through the park spaces, tours and exhibits. Beginning in the Visitor Center, the visual politics nominate a “universal sisterhood” and present a unified women’s story which glosses over vitally important fissures in social movements’ histories. In the Chapel and Stanton House tours, I argue that park ranger practices demonstrate an anxiety for what many in Tourism Studies call “objective authenticity.” Here, material takes on particular, expert meaning which does not leave space for the tensions of public memories to come out. In the last chapter of analysis, I argue the anxiety over a contested image in the Visitor Center (the “Black Lesbian Feminist”) reveals the controversy concerning the “appropriate” narrative the park ought to be telling about the movement. I use Roger Aden’s reading of narratives and counternarratives concerning the NPS Independence Park in Philadelphia to analyze the clash of narratives in Seneca Falls. Using Cara Finnegan and Jiyeon Kang’s analysis of iconoclasm in public sphere theory, I analyze the clash as it is symbolized by and superimposed through the anxiety over the specific image of the Black Lesbian Feminist. SIGHTS AND SPACES OF MOVING MEMORIES: THE PUBLIC MEMORY WORK OF THE WOMEN’S RIGHTS NATIONAL HISTORICAL PARK By Alia Bellwood B.A., St. John’s University, 2010 Thesis Submitted in partial fulfillment of the requirements for the degree of Masters of Arts in Communication and Rhetorical Studies Syracuse University December 2014 ©Copyright 2014 Alia Bellwood All rights Reserved Acknowledgments Ultimately, I dedicate this thesis to the memory of Elizabeth “Betty” Myers who, along with Grandma Shirley True, always listened to my ideas and encouraged my endeavors. Aunt Betty did not live to see the project’s completion but she and Grandma are woven into its fabric. She would have loved the park. Thank you, Alana Bellwood, Dr. Morteza Haeri, and Reza Khatami for letting me rest with you when I was tired and talk through the difficulties. And, to my fellow graduate student cohort of 2012-2014, you are all my home. I am indebted to Professor Stephen Llano for asking me what I thought about inequality and for every question that followed. For the genesis of this project and her unbounded optimism, I will always thank Professor Anne Demo. Professor Charles E. Morris III, I am eternally grateful for your ongoing insight, patience and example. Finally, this project would not have been possible without the support of the Department of Communication and Rhetorical Studies at Syracuse University. And it would have been a shadow of what it is without the beautiful cooperation of the Women’s Rights National Historical Park’s rangers and historians, expressly Chief of Cultural Resources Vivien Rose, Park Historian Anne M. Derousie, and Rangers John Stoudt and Patrick Stenshorn. IV Table of Contents Illustrations Chapter 1: Introduction …………………………………………………………………………...8 Chapter 2: No Space for Seeing Solidarity: The Visitor Center’s Visual and Spatial Strategies..48 Chapter 3: Practicing Authenticity with a Politics of Location: Touring the Historic Wesleyan Chapel and Stanton House……………………………………………………………………….95 Chapter 4: Seeing the Black Lesbian Feminist: Iconophilic Criticism of a Memory Contestation …………………………………………………………………………………………………..136 Chapter 5: Conclusion…………………………………………………………………………..180 Bibliography……………………………………………………………………………………186 Curriculum Vitae….……………………………………………………………………………194 V Illustrations Figure 2.1 The Information Desk roughly as visitors would enter (courtesy of park website Women’s Rights NHP Visitor Center photo gallery, “Rangers at the Information Desk”) Figure 2.2 Images at the north end of the Visitor Center along the east photo wall and before the stairs to the second floor (photograph by the author, 2014) Figure 2.3 Additional images along the north end of the east photo wall (courtesy of the Women’s Rights National Historical Park Facebook page) Figure 2.4 Cartoon on the east photo wall near the top of the stairs (photograph by author, 2014) Figure 2.5 The first exhibits on the second floor (photograph by the author, 2014) Figure 2.6 The “True Reality” exhibit on the second floor (photograph by author, 2014) Figure 2.7 The timeline on the second floor (courtesy of park website Women’s Rights NHP Visitor Center photo gallery, “Exhibit of a timeline of women’s history events”) Figure 2.8 The bottom left portion of the “Campaigning Women” exhibit on the second floor (photograph by author, 2014) Figure 2.9 The “Campaigning Women” exhibit on the second floor (photograph by author, 2014) Figure 2.10 The bottom right portion of the “Campaigning Women” exhibit on the second floor (photograph by author, 2014) Figure 2.11 One wall of the “Fashioning an Image” exhibit on the second floor (photograph by author, 2014) Figure 2.12 The second floor back wall reflection point (photograph by author, 2013) Figure 3.1 Wesleyan Chapel Exterior as one walks from the Visitor Center (courtesy of the Women’s Rights National Historical Park Facebook page) Figure 3.2 Women’s Encampment for a Future of Peace and Justice Resource Handbook Cover, (courtesy of the Barnard Center for Research on Women ephemera collection, http://bcrw.barnard.edu/archive/, “Women’s Encampment Handbook”) VI Figure 3.3 Elizabeth Cady Stanton’s House on Washington Street as one would approach from the parking area (courtesy of park website Women’s Rights NHP Visitor Center photo gallery, “Elizabeth Cady Stanton House 1”) Figure 3.4 Image of the Stanton House Formal Dining Room (photograph by the author 2013) Figure 3.5 Image of the Chapel interior wall and ceiling (courtesy of the Women’s Rights National Historical Park Facebook page) Figure 3.6 The Stanton House Nursery floorboards (photograph by the author 2013) Figure 4.1 Image of the “Black Lesbian Feminist” in its original position on the east photo wall of the Visitor Center (courtesy of the Women’s Rights National Historical Park Facebook page) VII 8 Chapter 1 Introduction Each year, especially around the month of July, thousands of tourists travel through Central New York to a small hamlet called Seneca Falls. The hamlet is home to an important set of symbols of American history and the women’s rights movement mythically forged in the summer of 1848. The events that conspired from this ground powerfully smolder in American memory. Throughout downtown, purple street flags and various metal plaques direct visitors to the restored Wesleyan Methodist Chapel building, the crown jewel of the National Park Service’s Women’s Rights National Historical Park (henceforth WRNHP), where the first Women’s Rights Convention was held. A web of National Park Service (henceforth NPS) structures constituting the park (three homes, the chapel site, a green space/ampitheater and a visitor center), municipal sites like the Frank J. Ludovico Sculpture Trail, and community organizations including the National Women’s Hall of Fame, reflect how women’s rights history dominate the hamlet’s landscape and narrative. And it is no surprise. Historians and activists alike point to the central importance of the Chapel for its role in hosting the convention which produced and passed, with 100 signatures, the historically significant Declaration of Sentiments. The drafters’ and organizers’ name, Elizabeth Cady Stanton, Lucretia Mott, Martha Wright, Jane Hunt and Mary Ann M’Clintock heroically echo from exhibit spaces, public art installations, to traffic signs. The WRNHP website boasts that “the First Women's Rights Convention and the Declaration of Sentiments have earned the Village of Seneca Falls a large place in the hearts of people all over the world” and that “there is no major part of our lives today which has not been affected by this revolutionary document.”1 1 “Stories - Women’s Rights National Historical Park,” National Park Service, October 25, 2013, http://www.nps.gov/wori/historyculture/stories.htm. 9 The park continues to be an influential element of the NPS’s network and a strong symbol of American citizenship. The location’s popularity hit a recent peak in 2012 with more than 30,000 annual visitors.2 It continues to enjoy prominence on the political scene with various forms of promotional and legislative support from Hillary Rodham Clinton while First Lady, New York Senator, and Secretary of State.3 In honor of the 2013 Women’s Equality Day, President Barack Obama toured the park Visitor Center and presented the superintendent and rangers with a signed copy of the Lilly Ledbetter Fair Pay Act, his first law as president which reinforces equal compensation for women in the workforce.
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