DOCSLIB.ORG

Correct Clothing for Historical Interpreters in Living History Museums Laura Marie Poresky Iowa State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Correct Clothing for Historical Interpreters in Living History Museums Laura Marie Poresky Iowa State University Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1997 Correct clothing for historical interpreters in living history museums Laura Marie Poresky Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Material Culture Commons, Fashion Design Commons, and the United States History Commons Recommended Citation Poresky, Laura Marie, "Correct clothing for historical interpreters in living history museums" (1997). Retrospective Theses and Dissertations. 16993. https://lib.dr.iastate.edu/rtd/16993 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Correct clothing for historical interpreters in jiving history museums by Laura Marie Poresky A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Major: Textiles and Clothing Major Professor: Dr. Jane Farrell-Beck Iowa State University Ames. Iowa 1997 II Graduate College Iowa State University This is to certify that the Master's thesis of Laura Marie Poresky has met the thesis requirements of Iowa State University Signatures have been redacted for privacy III TABLE OF CONTENTS ABSTRACT v INTRODUCTlON 1 Justification 1 Research Questions 4 Operational Definition of Terms 5 Objectives 7 Assumptions 7 Limitations 7 REVIEW OF LITERATURE 8 PROCEDURES 12 Selection of Subjects 12 Development of Interview Schedule 15 Conducting Interviews 16 Analysis 17 FINDINGS 19 Living History in the United States 19 Interpretation at Living History Sites 20 Representational Clothing at Living History Sites 20 The Importance of Accurate Representational Clothing 24 Procuring and Maintaining Representational Clothing 27 Clothing Research at Living History Museums 31 Representational Clothing and Site Interpretation 33 Influences on Attitudes Toward Representational Dress 37 Advice to Living History Sites 38 CONCLUSlON AND SUMMARY 43 SUGGESTIONS FOR FURTHER RESEARCH 47 APPENDIX A. LETTER TO PROSPECTIVE SITES 50 APPENDIX B. FOLLOW-UP LETTER TO SAMPLE SITES 52 IV APPENDlX C. lNTERVIEW SCHEDULE 53 APPENDlX D. SlTES AND RESPONDENTS IN SAMPLE 57 APPENDlX E. HlSTORICAL PATTERN SOURCES 60 REFERENCES 64 ACKNOWLEDGEMENTS 69 v ABSTRACT The use of representational clothing at living history museums was investigated in 33 telephone interviews. Time periods from the 17th to 20th centuries were portrayed by the sample of sites. which were located across most of the continental United States. It was found that most of the sites used third person historical interpretation. Historical clothing was seen as quite important to telling the story of the site; proper clothing helped both visitors and interpreters to understand the site better. The clothing was procured from a number of sources. Maintenance of garments was shared by interpreters and staff. Clothing was found to last approximately two years. depending on the garment and the wearer. Research sources varied according to time period and region represented. Site clothing was held to be reasonably accurate for the period and region represented. Respondents were divided on the importance of absolute authenticity in clothing to living history sites. INTRODUCTION Living history has become popular in the United States in many forms. from the permanent settings of established sites like Plimoth Plantation to ephemeral weekend Civil War reenactments on county fairgrounds. It can be used for recreation or education. and often combines the two. becoming an entertaining tool for outreach programs and special events. In any form. living history requires efforts in two directions: research to discover the social and material culture of the period of interest. and procurement of objects that represent that material culture. One of the most vital elements of material culture for living history is clothing. Even a vague attempt at period c1othing--a slouch hat. a plaid shirt. a long skirt--informs onlookers that they are seeing into the past. although through a distorted lens. It reminds the wearers that they are representatives for the past to the people of the present. Accurately researched and reproduced representational clothing can identify the age. gender. class. and even nationality of the wearer's character. as well as establishing the era being represented. Justification Many North American museums today use costumed guides. either for special events or as regular interpreters of historic sites (Coats. 1990; Dupree-Begos. 1994; Kneubuhl and Strazar. 1994; Russell. 1992). Historic sites often use costumed guides or interpreters as an extension of the museum environment. particularly in farm or village settings. to create living history museums. Whereas the buildings. artifacts, plants and livestock of a site are 2 often thoroughly researched. historically accurate clothing for the interpreters IS sometimes neglected. Several influences contribute to this neglect. Although a great deal of research has been done on historic clothing. very little has been done to apply this information in a scholarly fashion to the costuming needs of living history. Some aspects of fabric. cut, and construction of clothing have been published (Arnold. 1972a. 1972b. 1985; Farrell-Beck. 1987; Farrell-Beck. Haviland. & Harding 1985-86; Haack & Farrell. 1980; Leisch 1995; Marendy. 1993; Mellor. et al.. 1991; Waugh 1964. 1968). With the exceptions of Arnold (1985). Haack and Farrell (1980). and Waugh (1964). the emphasis has been on women's clothing. rather than that of both sexes. In addition. many time periods have been unevenly represented in costume histories. leaving holes in the record. The clothing examined in most histories belonged to the European upper class (Fox & Cottrell. 1988). but living history museums on this continent usually concentrate on the American agrarian classes. Commercial historical patterns tend to conform to living history needs more closely. but are not always reliable tools for creating period-correct representational clothing for men and women: patterns may not fit properly. and sometimes do not reproduce period clothing accurately. The mediocrity of interpreter costume at living history museums may be due to this dearth of information on appropriate period clothing. Economic factors are another influence on the accuracy of clothing used in living history. Research. materials. and construction all require investments of time and money. Conscientious research must be done by each site to determine available and proper dress 3 for its own needs. Fabrics with historically suitable characteristics of fiber content. weight. weave and color are often expensive and hard to find. The yardage required for representational garments is frequently very large. especially compared to modern clothing. Finally. period-correct construction often requires unusual. time consuming sewing skills. with extensive hand work used on most garments. In addition. there is the question of requiring interpreters to wear representational clothing with its attendant discomforts and inconveniences (Campbell. 1995; Graf. 1993; Hall. 1993). From the modern point of view. clothing typical of the nineteenth century and earlier is excessively hot. heavy. and confining for both sexes. especially during the peak summer visitation season. To complicate the issue. little work has been done to discover which kinds of compromises were made from the fashionable styles for work clothing in the past. Obviously. the fine clothing depicted in fashion plates for paying calls was not worn to work the soil. but alternative possibilities have only rarely been considered (Helvenston. 1991). Few studies have been done on U.S. living history museums as a whole. and none has been done on the attitudes toward clothing as a part of historical interpretation. Information on how living history sites manage their clothing programs would be useful to two different groups: established living history museums looking for ways to improve their clothing programs. and museums or historical sites that are interested in using living history and starting a clothing program. An overview of the methods used by a number of sites shows the many different options utilized to procure clothing for interpreters. and 4 how they interact with the site's interpretation program as a whole. Based on this information, sites can make educated decisions about their own interpretation programs, and what place representational clothing will have in those programs. 1 will explore the reasons why museums use different levels of historical interpretation and standards of dress by interviewing administrators of living history museums and their clothing programs. Research Questions 1. Which kinds and combinations of historical interpretation are used at living history museums? Is there a favored kind of historical interpretation in the United States? 2. How do living history museums research representational clothing for costumed interpreters? 3. How do living history museums provide representational clothing for costumed interpreters? 4. How do living history museums maintain representational clothing for costumed interpreters? 5. How do living history museums establish
Load more

Recommended publications
  • Historic Costuming Presented by Jill Harrison
    Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs.
    [Show full text]
  • The Well Dress'd Peasant
    TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage
    [Show full text]
  • TO CLOTHE a FOOL : a Study of the Apparel Appropriate for the European Court Fool 1300 - 1700
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1979 TO CLOTHE A FOOL : A Study of the Apparel Appropriate for the European Court Fool 1300 - 1700 Virginia Lee Futcher Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4621 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. TO CLOTHE A FOOL A Study of the Apparel Appropriate for the European Court Fool 1300 - 1700 by VIRGINIA LEE FUTCHER Submitted to the Faculty of the School of th e Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirement for the Degree Master of Fine Arts Richmond, Virginia December, 1979 TO CLOTHE A FOOL A Study of the Apparel Appropriate :for the European Court Fool 1300 - 1700 by VIRGINIA LEE FUTCHER Approved: I A'- ------ =:- ::-"':'"" Advisor TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii PREFACE ix CHAPTE R ONE: An Overview of the Fool 's Clothing . I CHAPTER TWO: Fools From Art. • • . 8 CHAP TE R THREE: Fools From Costume Texts . 53 CONCLUSION . 80 APPENDIX •• 82 BIBLIOGRAPHY. 88 LIST OF ILLUSTRATIONS Figure Page I. Ass's Eared Hood 1 2. One Point Hood . 1 3. Combination Eared/Pointed Hood 2 4. Ass 's Eared Hood Variation 2 5. Bird Head Hood . 2 6.
    [Show full text]
  • “Ena Silkes Tröya” – Clothing Bequests in Finnish Medieval Wills
    “Ena silkes tröya” – clothing bequests in Finnish medieval wills Piia Lempiäinen ABSTRACT This paper studies bequeathing practices and clothing terminology in medieval Finnish wills found from the Diplo- matarium Fennicum database and compares them to other Nordic countries. The use of wills as a source for dress and textile studies is discussed and the concept of clothing bequests is examined. The material shows how clothing donations demonstrate the medieval practice of gift-giving, where favours, allegiance, and power were traded and negotiated with tangible objects, such as clothing, that had both monetary as well as symbolic value. After this, clothing terminology is discussed with the help of previous Nordic research and different clothing terms used in the wills are presented and analysed. The study indicates that clothing was bequeathed in the same ways as in other Nordic countries using similar terms. Finally it is suggested that the source-based terminology should be used together with modern neutral terminology especially when the language of the research is different from the language of the sources to accurately communicate the information to others. Keywords: Middle Ages, wills, clothing, dress terminology, Finland, gift-giving. 1. Introduction In the Middle Ages even mundane, everyday items had value because of the high cost of materials and labour. Items were used, reused, resold, and recycled many times during their life cycles. Clothing and textiles were no different, and they were worn down, repaired, altered to fi t the new fashions, and in the end used as rags or shrouds (Østergård 2004; Crowfoot et al. 2006). Clothing was also com- monly passed down from generation to generation, and items of clothing are quite often mentioned in wills.
    [Show full text]
  • Historic Cemeteries Preservation Guide / Gregg King
    Historic Cemeteries Michigan Preservation Guide Gregg G. King with Susan Kosky, Kathleen Glynn & Gladys Saborio Supported by Michigan Historic Cemetery Preservation Manual GREGG G. KING with SUSAN KOSKY KATHLEEN GLYNN GLADYS SABORIO SUPPORTED BY: Michigan State Historic Preservation Office and The Charter Township of Canton Historic District Commission and Department of Leisure Services Published with the assistance of Charter Township of Canton Copyright by Charter Township of Canton 2004 All rights reserved. This book may not be reproduced, in whole or in part, excluding forms, without written permission from the above named publisher. Cover designed by RaeChell Garrett and Gregg G. King Printed in the United States of America by McNaughton and Gunn Inc. ISBN 0-9755474-0-2 Publishers Cataloging -in- Publication King, Gregg Michigan historic cemeteries preservation guide / Gregg King. p.cm. Includes biographical references. ISBN 0-9755474-0-2 I. Cemeteries—Michigan—Conservation and restoration —Handbooks, manuals, etc. 2. Historic preservation— Michigan—Handbooks, manuals, etc. 3. Michigan— Antiquities—Collections and preservation— Handbooks, manuals, etc. I. Title F567.K56 2004 363.6’9 QBI04-200244 The activity that is the subject of this project has been financed in part with Federal funds from the National Parks Service, U.S. Department of the Interior, through the Michigan Department of History, Arts and Libraries. However, the contents and opinions herein do not necessarily reflect the views or policies of the Department of the Interior or the Department of History, Arts and Libraries, nor does the mention of trade names or commercial products herein constitute endorsement or recommendation by the Department of the Interior or the Michigan Department of History, Arts and Libraries.
    [Show full text]
  • Costuming Workbook
    Costuming Workbook Middle or Merchant Class Middle Class Male & Female Shoes: (Required) Slippers are the most common shoe but boots are acceptable for festival. No zippers or modern closures should be visible. Pouches: (Required) Pouches are used instead of pockets to keep important items secure. Most any kind of bag without a modern closure will suffice. They can be hung from the belt, or, for ladies, worn under the skirts and accessed through an opening in the skirt seam. Sleeves: Sleeves are worn in various styles. Sometimes inner and outer sleeves were worn during colder weather. They can match the bodice/doublet fabric, but don’t need to. They can be attached or removable. Tabs or Peplums: Tabs or Peplums are attached at the shoulder and waist of a Doublet or Jerkin to add visual interest. Tights/Socks: (Required) Tights or tall socks need to be opaque (not see through). Though tights can be used, socks that come to the knee or higher are recommended for ease of privy use. Tights that end at the ankle are permitted only if wearing boots that hide the foot opening. Men must wear a dance belt or cod piece with tights. Middle Class Male & Female Parasol: Parasols should be made of wood Cloak: (Required) A cloak can be of varying and fabric, no metal bones. lengths and can have a hood. Fan: Fans are board-like and do not fold like modern fans. Apron: Aprons can be worn by women of the Middle Class. They would definitely be worn if work is being done in order to protect the gown.
    [Show full text]
  • The Complete Costume Dictionary
    The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward.
    [Show full text]
  • Tudor Corset Or Not to Corset... - History Unstitched | History U
    Tudor Corset or Not to Corset... - History Unstitched | History U... http://www.historyunstitched.com/articles/historical-periods/16t... Tudor Corset or Not to Corset... Written by Kimiko Small You have decided you will be making an English outfit for the 16th century (Henrician or Elizabethan). You are thinking about what all is involved in this decision. Maybe this is your first time or maybe you have made a few outfits before, but whatever your background, we all usually start at the same place; with the undergarments. First is the smock, which is pretty simple. There are many sources from websites to books that describe what survived from the 16th century and how to make a smock to fit you. So then you turn to what comes next, and that is when most women decide you simply must have a corset (modern term for a separate fitted and boned bodice that supports the torso and especially the bosom) to wear under your new outfit. It is a modern assumption that women from all walks of life in the 16th century must have worn corsets. We see them all over today being worn at renaissance faires and other historical events. Costuming books of the past few decades talk about them, how to make them, what corsets that survived look like. Even historical costuming guru Janet Arnold discusses them in her books - so they had to exist back then, yes? And so if they existed, then I must make and wear one today, yes? But... wait a second... did the women of the 16th century actually wear this kind of a garment? What sort of garment actually did support the bosom? What exactly were the supportive garments made from and stiffened with? And do you really need a corset? Well, the answer is not that simple.
    [Show full text]
  • Farbs, Stickjocks, and Costume Nazis: a Study of the Living History Subculture in Modern America
    Farbs, Stickjocks, and Costume Nazis: A Study of the Living History Subculture in Modern America by Krista Ann Wagner Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the American Studies Program YOUNGSTOWN STATE UNIVERSITY May, 2007 Farbs, Stickjocks, and Costume Nazis: A Study of the Living History Subculture in Modern America Krista Ann Wagner I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ______________________________________________________________ Krista Ann Wagner, Student Date Approvals: ______________________________________________________________ Dr. Stephanie Tingley, Thesis Advisor Date ______________________________________________________________ Dr. Donna DeBlasio, Committee Member Date ______________________________________________________________ Dr. Paul Gordiejew, Committee Member Date ______________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies & Research Date ABSTRACT The focus of this thesis is to allow the reader to better understand the subculture of living historians. Oral history interviews were conducted over a two-month period with ten living historians from local reenacting groups and living history museums in the Ohio/Pennsylvania/West Virginia area. The interviews wielded information which allows the reader to better understand how the structure of the living history community works, especially the private lives of historical reenactors. Chapter 1 of this thesis discusses the history of the two main subcultures of living history; living history museums and historical reenacting. Chapter 2 describes the interviewees and the structure of living history organizations.
    [Show full text]
  • Women: Smock, Kirtle and Gown
    A BEGINNERS GUIDE TO LATE FIFTEENTH WOMEN: SMOCK, KIRTLE AND -CENTURY KIT: GOWN This will give you the basic vocabulary of women's clothes in England in the late fifteenth century, give you an idea of the look you should be going for, and guide you as to what items to buy if you are starting out... Each item is illustrated with a period image from an English source, supported by contemporary images or line drawings. This guide is not really concerned with high status outfits - they’re not the best place to start - but some are included by way of illustration and contrast to the more everyday outfits that are the main focus. Some terminology and illustrations of the basics: Hose What you wear on your legs. Unlike the men's version, women's hose come up to the knee, and are held up with garters. They can be made in wool or linen and are sewn together from several pieces. Knitting was known at this time, but there is no evidence for knitted stockings before the sixteenth century. Smock A loose linen dress worn underneath everything else; this is the woman’s underwear and also her nightwear (if she wears anything), and is an absolutely essential layer. Usually shown as white, the smock can also be made in unbleached linen; it is loose, has no fastenings, and usually has a scoop neck. Sometimes called a chemise or shift, the smock goes down to mid-calf. Kirtle An ankle-length and close-fitting dress worn over the smock and usually close-laced at the front (or much more rarely and at posher levels at the side or back).
    [Show full text]
  • Putman's Reenacting Bibliography 1 Reenacting: an Annotated Bibliography Compiled by Tyler Rudd Putman (Updated June 3, 2019)
    Reenacting: An Annotated Bibliography Compiled by Tyler Rudd Putman (updated June 3, 2019) Introduction, June 3, 2016 In the course of writing the part of my dissertation that examines historical reenacting and the experience of war, I embarked on a survey of the books, articles, theses, and dissertations people have written about reenacting. I was quite surprised just how much was out there and how almost every new source I read produced a handful of other new-to-me works buried in its bibliography. I was especially surprised that I had heard of so little of this literature. I have that in common with a lot of people who’ve written about reenacting. Many of them mention the apparent lack of scholarship on the subject. My ignorance of the volume of reenacting studies is significant because as a reenactor and a professional historian, it's both my avocation and my job to know what's been published on subjects that interest me. I think I’m usually pretty good at that. But it’s harder to realize what’s been published about reenacting compared to other subjects because the authors come from so many different disciplines – anthropology, sociology, performance studies, costume studies, history, English, journalism, public policy, leisure studies, marketing, and so on – and that their work has often ended up in obscure, discipline-bound places, as graduate theses and dissertations, or in niche academic journals. That some of this work is so little known is unfortunate for two reasons. First, a lot of it is quite good. But second, and more importantly, it means that the very subject of these studies - reenactors - have almost no idea how much has been written about them.
    [Show full text]
  • Aiming to Reenact: the Efficacy of Military Living History As a Learning Tool
    State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2021 Aiming to Reenact: The Efficacy of Military Living History as a Learning Tool Leah T. Glenn State University of New York College at Buffalo - Buffalo State College, [email protected] Advisor Cynthia A. Conides First Reader Cynthia A. Conides Second Reader Noelle J. Wiedemer Department Chair Andrew D. Nicholls, Ph.D. Recommended Citation Glenn, Leah T., "Aiming to Reenact: The Efficacy of Military Living History as a Learning Tool" (2021). Museum Studies Theses. 31. https://digitalcommons.buffalostate.edu/museumstudies_theses/31 Follow this and additional works at: https://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Archival Science Commons, and the History Commons Aiming to Reenact: The Efficacy of Military Living History as a Learning Tool By Leah Glenn An Abstract of a Thesis in Museum Studies Submitted in Partial Fulfillment Of the Requirements For the Degree of Master of Arts May 2021 SUNY Buffalo State Department of History & Social Studies Education Museum Studies Program i ABSTRACT OF THESIS Aiming to Reenact: The Efficacy of Military Living History as a Learning Tool People around the world have been fascinated with recreating the past since antiquity. Over the past century, however, the presentation of historical information using various forms of human interaction and animation has gained increasing attention, at least in the historic site community if not largely accepted among academic historians. Utilizing a number of non- traditional tools to create a multisensory experience for visitors, this “living” history aims at entertaining the public while providing insights into the past not easily gained through more academic means.
    [Show full text]