Embodying Sacred History Performing Creationism for Believers Jill Stevenson

The $27 million Creation Museum in Petersburg, Kentucky, has achieved remarkable visibility since opening in May 2007. Articles in popular media outlets have not only raised awareness of the museum's existence, but also have imbued the museum with important symbolic value. Run by the Christian ministry group Answers in Genesis (AiG), the Creation Museum is inextricably

Jill Stevenson is Assistant Professor of Theatre Arts at Marymount Manhattan College. She is the author of Performance, Cognitive Theory, and Devotional Culture: Sensual Piety in Late Medieval York (Palgrave, 2010), as well as various articles and reviews. Her next book, The Performative Culture of Evangelical Devotion: Affect, Cognition, and Evangelical Dramaturgy, is currently under review. [email protected]

TDR: The Drama Review 56:1 (T213) Spring 2012. ©2012 New York University and the Massachusetts Institute of Technology 93

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94 Jill Stevenson aiy Fairarticle inVanity —indicate thatthisvenuestillsparkssignificantcuriosity(seeGill2010). before and after the museum opened, the publication of more recent pieces US cultureandpoliticsgenerally. And althoughalargenumberofarticlesappearedimmediately linked toconservativeevangelicalChristianityandservesasanemblemofpoliticaldivisionsin

motes itslargeragendaandthusservesthecreationistcommunity. in ordertodemonstratethespecificwayswhichCreationMuseum’smaterialspacepro- sions abouttheCreationMuseuminthatanalysis;here, Isignificantlyexpanduponthatwork fill comparablespiritualneedsanddesires. Iprovidedashortsummaryofmyinitialconclu- such parallelsmayindicatethatthelaityinbothcontextsareusingperformativemediatoful- within latemedievaldevotionandthoseusedincontemporaryevangelical Coda, Iproposethattherearerelevantsimilaritiesbetweentheperformativedevicesemployed theory toexaminetheperformativecultureofdevotionduringlaterMiddle Ages. Inmy and Devotional Culture: SensualPiety inLateMedieval York (2010). Inthatbook, Iusecognitive and freedomofthought. ously constructsaclearlydefinedcreationistidentityalignedwithnotionsofintellectualrigor and thenaturalhistorymuseumencountertopromotecreationistagenda, asitsimultane- culture. Usingperformativetactics, theCreationMuseumappropriatesbothscientificevidence a groupthatperceivesitselfasthreatened, disenfranchised, andmisrepresentedbymainstream museum witharadicalcommunity-basedagendainordertoempowerandgivepublicvoice tive displaystoachievethesegoals. Itcouplesthephysicalformofatraditionalnaturalhistory and reinforcefaithiswhatultimatelymakesthemvaluabletobelievers. individual andhisorherplaceinthewiderworld” (8). Their uniqueabilitytoclarify, secure, to “reflect andconstructevangelicalunderstandingsofthesacredprofane, ofthesaved genres “to alreadybesaved” (2004:3–4). Consequently, thesemediaaremoreoftendesigned “secular” mediaasawayofspreadingtheGospel, theytypicallyassumetheconsumersofthese However, asHeatherHendershotexplains, althoughevangelicalshavealwaysembracedmodern Figure 1. (previous page) Creation Museum entrance gates, 18 July 2009. (Photo by Jill Stevenson) the kindsof “discriminatory elements” thatJohnFletchersuggestsare “necessarily presentin particularly usefulforevangelicaldenominations, whichshareanemphasisonproselytization. always employedpopular, recognizableartformsaspartoftheirfaith. Suchgenreshaveproved ways inwhichthefamiliarmuseumgenreisusedtocommunicatethatmessage. Christianshave 2. 1. Christian traditions (see Fletcher 2007:314–16). and Shelley 1992:14–16). John Fletcher discusses the differences between the fundamentalist and Evangelical Evangelical’s mission is to spread this message of damnation and salvation fallen and doomed to damnation, with Christ as the only hope for salvation. Until Christ’s second coming, the are the doctrine of salvation and the necessity to witness. Evangelical Christians see the world as fundamentally A wide variety of denominations fall under the Evangelical but central tenets that unite themChristian rubric, (McGrath 2010). assumptions we make about Barack Obama’s past associations with figures like Bill Ayers and Bernardine Dohrn” plausible divergence in theories about man’s relation to dinosaurs, but it could just as easily have spoken for the a different conclusion,’ Seely explained. The exhibit, called ‘Starting Points,’ wasintended to demonstrate the is, and what youworld view believe and what you’ve been taught, you can look at the same thing and come to showed and a Biblical two paleontologists, a Darwinist literalist, examining a fossil. ‘Depending on what your people profiled in the piece,takes McGrath to the Creation Museum where his wife works: “The first exhibit Another example is Ben McGrath’s 2010 As aperformanceofcommunity, theCreationMuseumdoes This articlebeganasabriefsectionintheCodaofmybookPerformance,Cognitive Theory, The CreationMuseumnotonlyreflectsthesefunctions, butrevealinglyusesperforma- It isnotsimplytheCreationMuseum'santi-evolutionmessagethatfascinates, butalsothe New Yorker on the article Tea Party Movement. Don Seely, one of the — — to witness and proselytize (Shelley and probablymust — including a 2010 — — and that employ 2

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Performing Creationism 95 - culture ­culture sustaining as well as strategies for ­ as well as strategies for — , which examines evangelical out - evangelical Convertexamines which to , Preaching However, central to the museum’s performance to the museum’s performance central However, 3 These numbers suggest that creationist centers and museums have a 4 Dinosaur Adventure Land promoted the creationist agenda primar Dinosaur 6 , Hovind “is serving 10 years in federal prison as a result of a tax-fraud tax-fraud a of serving“is result a as prison federal in years 10 Hovind , Journal News Pensacola For example, in 2001 Kent Hovind, a former public school science teacher in 2001 Kent Hovind, For example, 5

larized” science has misled and corrupted society, the Creation Museum’s performative performative the Creation Museum’s corrupted society, science has misled and larized” - humanis “proclaim an evolutionary, most of which natural history museums, traditional

Fletcher makes this claim with respect to Hell Houses, describing this performance genre as “a form of activist, activist, of form “a as performancethis describing genre Houses, Hell to respect with claim this makes Fletcher bankruptmorally a as see Christians evangelical what to responds that performance” community-based (2007:316). See also John Fletcher’s forthcoming book, Fletcher’s John also See (2007:316). Although Museum. Creation the to performanceactivist of lens devoted the chapter a has and through reach museum the of elements interpret we goals, different and have approaches theoretical different I use and Fletcher complementary. as work our see I and ways similar in Religious US Pew’s to According increasing. be may evolution rejecting directly those of percentage The explains best evolution notion that “the rejected directly respondents of 45% 2008, in released Study Landscape members 10 in 7 instance, For determinant. major a be to seems Religion (2008:95). life” human of origins the evolutionarythe account (95). reject Witnesses Jehovah’s and Mormons, churches, Protestant evangelical of see themes, evangelical with parks theme and museums high-tech of number increasing the on work For Ward (2008). the to According long-runninga in Internal the with dispute taxes employee in $470,000 than more pay to failing for conviction two and Land, Adventure Dinosaur up propertiesmake nine that “the 2009, August early of As Service.” Revenue Early creationist museums were simple affairs, but they initiated an important shift toward but they initiated an important shift Early creationist museums were simple affairs, on but did so with more emphasis evidence, Newer venues continued to use scientific 3. 4. 5. 6. turned minister, opened Dinosaur Adventure Land in Pensacola, Florida. Before closing sud- Florida. Adventure Land in Pensacola, opened Dinosaur turned minister, August 2009, denly in viable audience in nearly half of the nation’s population. viable audience in nearly half of the nation’s the Creation Evidence Museum’s website explains For example, using empirical data as evidence. Texas, originally came to Glen Rose, the museum’s Founder and Director, Carl Baugh, “Dr. that, When his initial excavations dinosaur co-habitation.” to critically examine claims of human and Baugh decided “yielded human footprints among dinosaur footprints,” along the Paluxy River along in order to appropriately display this evidence, “that a museum needed to be established Baugh In 1984, of scientific research for creation.” with sustained excavations and other areas guests can see dis- an entrance fee of $5.00 per person, for Today, officially opened his museum. and attend lec- visit excavation sites, and fossils, plays of the museum’s most important artifacts tures (Creation Evidence Museum n.d.). “edutainment.” those feelings after they leave. By constructing a materially realized creationist narrative, the realized creationist narrative, By constructing a materially leave. those feelings after they belief into embodied experience. museum transforms displays supply them with feelings of stability and certainty displays supply them is the contention that the exhibits simply give visitors “the freedom to see what they want see what they want “the freedom to simply give visitors that the exhibits is the contention of discrimination back refract any allegations museum employees and 2009), (Chang to see” onto ­ the evolutionary thinking who believe that For creationist visitors (Asma 2007). tic worldview” “secu­ of

Bringing the Bible to Life Bringing the Bible Genre The Creationist Museum centers and museums in there are 13 creationist Creationism.org, According to the website US opinions regarding evolution. altogether surprising given statistics on This is not the US. “42% of respondents directly August 2006, survey released in According to a Pew Research living things have existed in choosing the option that humans and other rejected evolution, said they believe evolution Of those respondents who their present form since the creation.” the one proposed This view is roughly 21% believe it was guided by a supreme being. occurred, in evolution Only 26% of respondents said they believe movement. “intelligent design” by the through natural selection. any expression of community” (2007:325). of community” any expression Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

96 Jill Stevenson He alsofoundedthemuseumandservesasitsdirector. According tothe “Creation Museum school teacherfromQueensland, Australia, launched AiG in1979andiscurrentlythepresident. sils, andotherscientificevidencetoassertthe “truth” ofbiblicalhistory. KenHam, apublic elaborate andspectacularofthesevenuesbyfar. The CreationMuseumusesdinosaurs, fos- finally hearitinapublicplace, somethingthatreinforcestheirbeliefs” (inGoodnough2004). where youhavetositthereandtaketheevolutionarystuff[...]Itfeelsgoodfor[ourchildren] one guestatDinosaur Adventure Landremarked, “We’ve beentomuseums, discoverycenters, ationist movementisusingtogaintractioninpublicdebatesoverscienceeducation. (Goodnough 2004). not flinchingwhentheballswungbacktowardthemandstoppedjustinfrontoftheirfaces could demonstrateknowledgeofthescientificprinciple, aswell “faithinGod’slaws,” by ing balldanglingonaropefromtalltreebranchandparkguidereleasedtheball. Children back higherthanthepointfromwhichitisreleased. Forthisgame, achildstoodbeforebowl- 2004). Forinstance, the “Nerve-Wracking Ball” illustratedhowaswingingobjectnevercomes were intendedtoteacha “science lesson” and “spiritual lesson” simultaneously(Goodnough museum, andvariousinteractivegames, mostofthemorientedtowardchildren. These games ily byteachingvisitorsthe “truth” aboutdinosaurs. The parkincludedadiscoverycenter, 10. ent ideology, themovementisfinallyinstitutionalizedthroughformaltactics(2007:110). builds moraleandfeelingsofbelonging. After thisgeneralinterestdevelopsintoamorecoher stages. An initialperiodofunrestoragitationisfollowedbyapopularexcitementthat Elizabeth Crookeexplains, 20th-centurysocialmovementshavetypicallygonethroughfour onstrated publicly, Museum, and AiG’s CreationMuseum rise ofcreationism-themedvenues museumgoer’s experience. wonder thatusuallyaccompanythishighregardformuseumsmayalsoemotionallyintensifya a distantsecondat61%” (American Association ofMuseums2001). The feelingsofaweand trustworthy orasourceofinformationamongwiderangechoices. Booksare American Association ofMuseums, 87%of Americans “find museumstobeoneofthemost ful forthesocialmovement” (Crooke2007:130). According toa2001nationalsurveybythe idation: “the veryfactthatwetendtoascribethemuseumwithauthorityandinfluenceisuse- reached thisfinalinstitutionalizingphase. 9. 8. 7. As amodeofpublictestimony, AiG’s CreationMuseumexceedsexpectations. Itisthemost Opening venuesliketheseconstitutesoneofthemanytacticsthatcontemporarycre- appeal: They represent an affirmation for the visitors that they are not alone” (2008:97). Rothstein argues that visitors go to the museum for a confirmation oftheir beliefs and “the masses are of the part of achieving a sense of empowerment” (2007:134). With respect to the Creation Museum particularly, Jandos Crooke “The freedom asserts, to speak for oneself, in a place where one will be heard, is one of the core strands exist before the visit, are enhanced during the visit, and persist after the visit” (1992:93). Lynn Dierking and John Falk’s study of the museum experience indicates that “for most visitors feelings of awe cal creationist movement” (in Moll 2007:13). “Twenty-five years ago, we didn’t havepart all theof argumentsmaturing fine-tuned [...]ofthe Thisbibli- is represents with respect with to it. In an interview Museum’s founder and director, suggest and that what he the would Creationagree with this trajectory Museum These stagesare basedupon Herbert Blumer’s ofsocialmovements. theory Comments by Ken Ham, the Creation Shorto 2010). Another tactic involves impacting the content of public school textbooks (see McKinley 2009; McKinley 2010; ment” (Wernowsky 2009). bank accounts associated with the park will be used to satisfy $430,400 in restitution owed to the federal govern - Museums, specifically, offerthecreationistmovementmanythings, notleastofwhichisval- 10 afactthatvisitorstocreationist-themedvenuesrecognizeandwelcome. As 9 A museum’sauthorityisparticularlyempoweringbecauseitdem- — such asDinosaur Adventure Land, theCreationEvidence — may beevidencethatthecreationistmovementhas Christianity Today, Ham said of the Creation Museum, 7 As 8 The - Performing Creationism 97 - - another — According to its online According to its online 12 11

13 rides at Florida’s Universal Studios theme park King Kong rides at Florida’s Universal Studios theme walk through the pages of God’s Word and encounter creation, corrup- and encounter creation, Word walk through the pages of God’s — and

The Creation Museum attracts guests, in part, because it promises an empirically based in part, The Creation Museum attracts guests, As Tracy Davis asserts, “The spiritual or scientific takes a physical form, and that is the essence and purpose of a of purpose and essence the is that and form, asserts, a physical takes scientific or spiritual Davis “The Tracy As (1995:35). museum” Souvenir Museum articlesvarious the “Creation in including materials, museum in and in repeated is fact This Guidebook.” “The that explains Guidebook” Souvenir Museum “Creation official the of cover front inside the example, For exhibit Studios Universal former a by “designed was that history’” through ‘walk a presents Museum Creation Orlando, in Park Theme Experience Land Holy 15-acre million, $16 the venue, related A n.d.). (AiG director” 2008:162). (Ward designer Studios Universal a employed also 2001, in opened which Florida, The museum is located on the Kentucky, Indiana, and Ohio border, seven miles west of the seven miles west border, and Ohio Indiana, on the Kentucky, The museum is located The central attraction of the museum is its 16-exhibit, 2-floor “Museum Experience Walk.” Walk.” “Museum Experience 2-floor of the museum is its 16-exhibit, The central attraction that the sophisticated special-effects theatre and The museum’s website promises visitors foundation for creationism. AiG disseminates the doctrine of young earth creationism, the doctrine of young earth creationism, AiG disseminates foundation for creationism. which holds as its core principles that the world was created in six days and is approximately earth creationists maintain that those who endorse the young Significantly, 6,000 years old. which proved Fossils, ­evolutionary narrative have simply misinterpreted the scientific data. Cincinnati/Northern Kentucky airport. This location in the American “heartland” is critical to is critical “heartland” American the This location in Kentucky airport. Cincinnati/Northern “within specifically note that it is and various pieces of museum literature the museum’s identity population.” of almost two-thirds of the U.S. a day’s drive (650 miles) newsroom, over 1.4 million people had visited the museum as of 11 August 2011. Currently, Currently, August 2011. as of 11 million people had visited the museum over 1.4 newsroom, the However, ages 5 to 12. $24.95 for adults and $14.95 for children a one-day ticket costs is what I purchased when I vis- which two-day package ($34.95/$20.95), museum also offers a 2009. ited the museum in July an exhibit fossil and science displays, guests encounter a dinosaur dig site, Along this walk, exhib- and various point/counterpoint site, the Noah’s ark construction on biblical history, The Walk. and short films appear throughout the Experience videos, Animatronic displays, its. to those a dinosaur fossil exhibit (visually similar museum also houses a special-effects theatre, additional the Stargazer’s planetarium (for an found in traditional natural history museums), and Café), a number of food venues (including Noah’s cost of $7.95 with museum admission), dragon points throughout the museum experience, At various the Dragon Hall Bookstore. In the Ages function as evidence that dinosaurs and humans coexisted. tales from the Middle and features at a real castle” “was filmed in England which a 10-minute video, Theater, Dragon The museum grounds also contains a botanical gar explains this connection. a Harvard PhD, and picnic areas. petting zoo, den, in a com- “experience the Bible and history them to life-size animatronic dioramas will allow pletely unique way and consummation through a number of engaging exhibits” the Cross, Christ, catastrophe, tion, casting its to life, “the pages of the Bible aim to bring The exhibits (Creation Museum n.d.). lit- Museum placing them in familiar settings.” characters and animals in dynamic form and who animatronics were created by Patrick Marsh, erature boasts that these state-of-the-art designed the Jaws credentials. attempt to legitimize the venue’s cultural 11. 12. 13. itual as a global testament to the truth of God’s Word” (3). The considerable size of this physi- size of this The considerable (3). Word” truth of God’s testament to the itual as a global the 70,000-square-foot legitimacy and value; helped establish its has significantly cal monument grounds cover 49 acres in total. museum and the surrounding Souvenir Guidebook,” AiG “is dedicated to proclaiming the Bible’s literal history with logi- Bible’s literal history to proclaiming the “is dedicated AiG Souvenir Guidebook,” the Museum represents The Creation n.d.:36). (AiG world” answers in a skeptical reliable cal, the Creation Museum in the guidebook, as Ham asserts of this agenda; perfect manifestation also in the spir but of brick and mortar, in the physical aspect a monument not only “stands as Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

98 Jill Stevenson set expectationsforthevisitand thensupplymuseumgoerswithafamiliar, memorable, and ence withinandaroundthemuseum (oftentimesappearingalongsidehumans). Dinosaurs help within theyoungearthcreationist narrative, theseexoticanimalsareaconstantmaterial pres- public image. museum’s promotionalmaterials andmerchandise, andarethereforecentraltotheinstitution’s located attheendofMuseumExperience Walk. Dinosaursalsoarefeaturedonmostofthe passengers intheNoah’s Ark models;and, ofcourse, inthedinosaurdenandDragon Theater as someofthecreaturesthat Adam names;inexhibitsabout corruptionfollowing Adam’s sin;as (fig. 3). Dinosaursarealsointegratedintoarangeofexhibits:intheGardenEdendiorama humans keepsvisitorsoccupiedastheywaitinlinetobeginthe MuseumExperience Walk provide moregroupphotoopportunities;andalargeanimatronic displayofdinosaursand photo-op (fig. 2);dinosaursculpturesandfossilreconstructions greetvisitorsinthelobbyand ­museum’s entrancegates(fig.1);adinosaursculptureoutside themuseumprovidesa­ throughout themuseum, fromthemomentvisitorsarrive: dinosaurimagesappearonthe for AiG.the As the present.” asserts, “The Bible’strueaccountofhistorygivesusthekeytointerpretfossilswefindin This narrativeisreinforcedthroughouttheNoah’s Ark exhibit. As onesigninthemuseum Noah’s immediatefamilyaswell 200-plus-page booksoldattheDragonHallBookstorefor$19.99)describeshow Ark held ies.” Forexample, AiG’s MuseumGuide: A Bible-BasedHandbooktoNatural Museums(a History biblical narrative. Moreover, Noah’sfloodactuallyreconcilesmanyarchaeological “myster problematic forearliergenerationsofcreationists, nowsupplyevidenceofGod’splanandthe the Noah’s Ark reconstruction. These sameargumentsappearthroughoutthemuseum, especiallyinthoseexhibitsrelatedto Although theyarenotafundamental partoftheBiblicalaccountandonlyplayaminorrole The verysamedinosaursthatfrustratedearliergenerationsofcreationistsserveasevidence them are. (AiG2007:14) been duguptoday;theyarecalledfossils. NotallfossilsarefromtheFlood, butmostof even humansbecameburiedinthemuddysediments. The remainsofsomethesehave ful thattonsofrocksanddirtweremovedaroundduringtheFlood. Plants, animals, and [...] All thepeopleandlandanimalsoutside Ark died. The watersweresopower was huge. Itwasapproximately450feet(135meters)longand45(13.5tall two ofeverykindair-breathing, landanimalandbird(andsevenofsome). This boat Dinosaur models animals todaybecomeextinct!). (2007:14–15) vation, diseases, andhuntingbyhumansand/orotheranimals(someofthesamereasons could havecontributedtotheextinctionofdinosaurs, includingclimatechange, star the differentdinosaurkindstoreproduceafterFlood[...] There aremanythingsthat the sizeofasmallpony. And Godwouldhavepreservedtheyoungerrepresentativesof from theFlood. Dinosaurscouldhavefitonthe Ark, sincetheywere, onaverage, about the Ark. The variouskindsofdinosaurswouldhavealsobeenonthe Ark andpreserved to punishmankind’swickedness, GodpreservedHiscreationbysendinganimalsonto and preservedforustosee. Second, wemustrememberthatwhenGodsenttheFlood Day 5). We alsoknowthatdinosaurswererealbecausetheirboneshavebeendiscovered this creation(seaandflyingreptilessuchaspteranodonsplesiosaurswerecreatedon mals werecreatedonDay6, andsincedinosaursarelandanimals, theywereincludedin in mind. First, weknowthatdinosaurswererealbecausetheBiblesayslandani- When talkingaboutthedinosaurs, oranyotherextinctanimal, wemustkeepsomethings Museum Guideexplains: — although usuallymuchlargerthansmallponies — are prominent perfect - - - Performing Creationism 99 Museum Guide: A Bible-Based Handbook to Natural Natural to Handbook Bible-Based A Guide: Museum do it from a biblical perspective. Before you go, you’ll you’ll go, you Before perspective. biblical a from it do can

14 Figure 2. Dinosaur sculpture outside Creation Museum, 18 July 2009. (Photo by by (Photo 2009. July 18 Museum, Creation outside sculpture Dinosaur 2. Figure Stevenson) Jill when people interpret the fossil evidence they choose either to start from when people interpret the fossil evidence —

learn about the natural world, and we we and world, natural the about learn can

from one-room exhibits filled with local fossils to grandiose halls loaded with specimens from every from specimens with loaded halls part grandiose to fossils local with filled exhibits one-room from —

Exhibits in the Creation Museum repeatedly declare that everyone has the same facts, but declare that everyone has the same facts, Exhibits in the Creation Museum repeatedly AiG also produces material designed to help creationists navigate traditional natural history museums. For exam- historynatural traditional navigate creationists help For to designed museums. material produces also AiG sells Bookstore Hall Dragon Museum’s Creation the ple, world the found are “Museums begins: Go,” You “Before entitled guide, this of section first The . HistoryMuseums over around everyunited is few(with presentation, museum in unique is exceptions) each Although [...] globe the of definition, by view, This view. of point historynaturalistic a the tell to goal: common a from universe the of them- made things how explain to attempts and interventionsupernatural of type any revelation, or excludes Bible- a for possible it Is presentations. their throughout abound stories years’ of ‘millions and ‘Evolution’ selves. resounding a is answer the see, we’ll As intact? faith his with leave yet and place a such visit to Christian believing we Yes, ‘yes!’ exhortsBible to us the as discerning, be to learning by fiction is truewhat is what tell to from how learn to want (2007:7). history” biblical and science of nature the understanding by this do can We [...] be “Human Reason” or to start from “God’s Word.” According to museum spokespeople, this According to museum spokespeople, Word.” “God’s or to start from “Human Reason” side has the upper hand; as explained by Dr. exhibit is designed to demonstrate that neither AiG who holds a doctorate in the history of a lecturer and researcher for Mortenson, Terry “The very first two rooms of our museum talk geology from Coventry University in England, will very strongly contest an evolutionist We about this issue of starting points and assumptions. rather than However, (in Chang 2009). themselves” position that they are letting facts speak for larger claim by these exhibits instead lay a foundation for the museum’s neutral displays of data, and of experience, modes with contrasting identities, “starting points” associating these different moral consequences. that people simply draw different conclusions from them. The “Museum Experience Walk” Walk” “Museum Experience The from them. that people simply draw different conclusions of contention are described as merely a difference of begins with displays in which key points “Starting Points” 14. Creationist Rhythms reject the For creationists who of earth evolutionary narrative the publicly coopting science, to legit- museum genre serves it simul- imize their beliefs as ultimate taneously denies the authority of the traditional nat- Crooke ural history museum. notes that independent muse- traditional “the movement’s attempt to challenge ums oftentimes develop as part of a social how items are collected and the method in the terms of whose story is told, idea of a museum, are not only challenging the traditional hegemony of By doing so community groups of display. AiG’s This is certainly one of (2007:130). but are using it for their own purposes” the museum, objectives in opening the Creation Museum. marketable through-line during through-line during marketable (They experience. their museum as the spectacle nec- also serve and keep children essary to get Ham As in a museum.) interested “Evolutionary Darwinists asserts, are tak- need to understand we (in ing the dinosaurs back” Arroyo 2007). Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

100 Jill Stevenson Museum, 17 July 2009. (Photo by Jill Stevenson) Figure 3. Lobby animatronic display featuring dinosaurs and humans. Creation such asmicroscopes andtelescopes, and indoingsothey “promote theideathatevolution Museum, thesefilmsemphasize “observable” science, highlighting experimentsthatusetools tion justdoesn’tmakeanysense asameansofexplainingtheworld” (158). Like theCreation proved bythephysicalworld, aswellthe ‘logical,’ commonsenseassumptionthatevolu- argues thattheInstitute’sfilms promoted “thenaturaltheologypositionthatGod’s glory is onstrated the “confluence betweenscienceandreligion” (Hendershot2004:147). Hendershot and youngadults. Consequently, theMIS’s evangelicalstrategywastoproducefilmsthatdem- power, aswellCold War politicshelpedfuelaninterestinscienceamongUSschoolchildren “Atomic Age,” aperiodwhentechnologicaladvancements, especiallythoserelatedtonuclear Moody BibleInstitute’sboardofdirectorsestablishedtheMIS in1945duringthenation’s ined thefilmsreleasedin1950sand1960sbyMoody InstituteofScience(MIS). The itself withinaparticularcreationisttradition. Forexample, HeatherHendershothasexam- logically andchosenbiblical “truth” becauseitmakes moresense. dence, withthecreationistbelieverdepictedassomeone whohasassessedtheavailableoptions ever, astheMuseum Walk continues, creationismemergesasthe “correct” approachtotheevi- Walk. The exhibitinitiallyimpliesthatcreationism isoneoftwointerpretivestrategies;how- beliefs. Iwouldarguethatakindofbait-and-switchoccursinthisearlysectiontheMuseum biblical perspectiveandthereforedoesnotriskcontradictingthecreationistmuseumgoer’s gest balanceand, thus, toappealthenon-creationistvisitor, butit also clearlyprivilegesthe Significantly, bothinterpretiveoptionsinvolve “faith.” Suchlanguagemaybeintendedtosug- museum’s souvenirguidebookexplains: ticular wordchoicesclearlyindicatethatoneofthetwooptionsissuperior. Forexample, the and literaturetriestoreinforcethisnotionbyclaimingthateveryone “interprets” evidence, par which tochoose:creationismorevolution. Although certainlanguageinthemuseum’sdisplays follows a “theory” asifitwereunquestionabletruth. who cannotengageinareasonableandthoughtfuldebateaboutthefacts, andinsteadblindly By emphasizingthe “common sense” ofcreation science, theCreationMuseumsituates points. (AiGn.d.:8) views aboutthepast, notbecauseofwhattheysee, butbecauseoftheirdifferentstarting faith atworkineveryinterpretationofscientificevidence[...]Scientistsreachdifferent the eternal, perfectGodorthewordsoftemporal, falliblemen. There isanelementof Our conclusionsabouttheworldareaffectedbydecisiontotrusteitherwordsof The formatofthisearlysectionseemstoimplythatpeoplehavetwopossibletheoriesfrom the evolutionistisperson ciates withcreationists. Here, traits thatsocietytypicallyasso- identity withcertainderogatory ously inscribestheevolutionist characteristics, asitsimultane- ationists withpositivelycoded doing so, themuseumalignscre- ­knowledge-hungry people. In ists asinsightful, questioning, museum presentscreation- what happenedinthepast. The ationists whotrytofigureout the present, asopposedtocre- cerned onlywithevidencein depict “secular” scientistsascon- Experience WalkMuseum The firstfewroomsonthe - Performing Creationism 101 unlike evolutionists, who they claim only consider part unlike evolutionists, — thus close relatives could marry, and provided it was one marry, thus close relatives could — scripture and a principle we follow today [...] 4. The farther back in history one goes (back The farther back in history today [...] 4. a principle we follow Creationists are therefore more scrupulous because they use all of the available “evi- because they use all of the available Creationists are therefore more scrupulous

15 — — scientific data

Interestingly, the museum takes the same position with respect to natural selection and has a large room along the the along room large a has and selection natural to respect with position same the takes museum the Interestingly, as selection, “Natural explains, guidebook museum’s The selection. natural to devoted Walk Experience Museum allows it process, God-ordained a as Viewed supported is scientifically. and biblically geology, post-flood in shown popula- within variation limited allows selection surviveto organisms Natural world. post-fall sin-cursed, a in (21). history” Bible’s the of confirmation a great fact, in is, and preservesviability, tions, their These divergent characterizations are also explored more comically in the 22-minute film These divergent characterizations are also AiG is not interested in simply arguing that it is more reasonable to believe the However, man for one woman (the biblical doctrine of marriage), there was nothing wrong with there was nothing wrong of marriage), man for one woman (the biblical doctrine close relatives marrying in early biblical history. about six thousand years ago, Adam’s sin, after thorns came Word, According to God’s along Since we have discovered thorns in the fossil record, not millions of years ago. time as they all must have lived at the same with dinosaurs and other plants and animals, Adam’s sin. after humans, towards the Fall of Adam), the less of a problem mutations in the human population the less of a problem mutations Adam), towards the Fall of would have been very few muta- there Adam and Eve’s children, time of At the would be. tions in the human genome In particular, the museum uses different tactics to reinforce a distinction between the seem- a distinction between tactics to reinforce museum uses different the In particular, they marry their relative So whenever someone gets married, related. All humans are 1. was married to his half sis- Abraham, honored men of the Bible, One of the most [...] 2. the Israelites not to marry close rel- until much later that God instructed It wasn’t ter. atives dence” of the evidence. which plays every half-hour throughout the day in the museum’s special-effects Men in White, an easily flustered public-school scene, High School” “Enlightenment In the film’s theatre. can only spout in response, challenge evolution and, teacher appears distressed by questions that no God in the uni- “There is and “I just think Charles Darwin is wonderful” non sequiturs like As Jason are written on the classroom blackboard. “Don’t Question” Phrases such as verse.” as a case of free inquiry against tyrannical opponents” “the battle is presented Byassee explains, cre- fanatical, Rather than are creationism’s allies. reason and logic In this battle, (2008:23). the evidence rationally before successfully discred- able to discuss ationists appear evenhanded, iting evolutionary theory. the museum ultimately suggests that creationism provides believers Instead, creationist account. visitors exhibit, “Starting Points” Shortly after the with a more comforting and purposeful life. individuals enter a room containing six panels that recount episodes in history when groups or 15. In other cases, signs purport to demonstrate with logic how the fossil record supports the cre- signs purport to demonstrate with logic how the fossil record supports In other cases, ationist account: to confirm scientific data holds value precisely because it helps For young earth creationists, scripture. ingly open-minded, inquisitive creationist and the rash, illogical evolutionist. Various graphic graphic Various illogical evolutionist. rash, creationist and the inquisitive ingly open-minded, - questions that evolu answers to the typical straightforward visitors with concise, panels supply a large panel explaining Cain’s For example, creationism’s claims. tionists use when disputing and then lists six reasons why this “Before jumping to conclusions” begins marriage to his sister among them: in biblical times, marriage was acceptable cannot be proven because it cannot be seen” (174). However, while the films and videos that while the films However, (174). be seen” proven because it cannot cannot be the performative museum visual techniques, these ideas through examines reinforce Hendershot visually and experientially. these ideas both creationists to promote space allows Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

102 Jill Stevenson squiggly- andstraight-linegraphics renderandreinforcethisdisparityvisually. In thisway, the of another signintheDinosaurDig proclaims)eventuallyleadsto human reason’sclaimthatweare “only thelatestrippleinendlessstreamofevolution” (as starting fromGod’swordresults inastable, certain, andhopefullife, whereas beginningfrom might initiallyhavebeenadifferenceofinterpretationwithone ofthemuseum’scentraltenets: to die?” A largegraphicnearbyproclaims, “God’s Word OffersHope.” This roomalignswhat “Why amIhere?” “Am Ialone?” “Why doIsuffer?” “Is thereanyhope?” and “Why dowehave lives?” isaccompaniedbyphotosofpeopleindespair. These arelabeledwithphraseslike: snake inEden. provides areliable, confidentjourney. Evolution’s squigglylinemightevenevokethedeceptive poses twoverydifferentexperiences phrases “Creation ~6000yearsago” and “God’s Word.” (fig. 4). Thisgraphicillustrationpro- gly lineappearsbetweenthesephrases. Alternatively, astraight, solidlineappearsbetweenthe contains thewords “Evolution ~14billionyearsago” and “Human Reason.” A long, squig- quences atstakewhenchoosingone’s “foundation forunderstandingtheworld.” Onepanel Large panelsinstalledneartheendof “Starting Points” exhibitexplainthelargerconse- rely on,” creationistshavetheBible. Biblicalscripture rely ontheaccountofanaccurateeyewitness.” While “naturalists havenosucheyewitnessto sality andanalogytoreconstructthepasteventhough “the bestmethodofreconstructionisto well-being.of AiG’s knowledge aboutthepast, butthatitalsoimpactsaperson’sentirephilosophyoflifeandsense human speculationanderror. Alternatively, moderninstitutionsonlyofferconstantlyshiftingtheoriesthataresubjectto According tothisexhibit, creationismprovidespeoplewithstabilityandreassurance. Biblical Time,Question takesdirectaimatthemodernchurch: Latest Attack: the Bible’sally, anevencloserallythantheinstitutionalchurch. A seventhpanel, entitledThe confirms thatmanyrocklayersweredepositedcatastrophically.” Thesepanelssituatescienceas worldwide Flood. 19th-centurygeologistsarguedthatrockswereformedslowly. Today geology confirms thatfossilswereburiedrapidly”; “TheBibleclaimsthatGoddestroyedtheearthina Flood. 19th-centurypaleontologistsarguedthatfossilswereburiedslowly. Today, paleontology discoveries: “The Bibleimpliesthatmostfossilswereburiedquicklyasaresultoftheworldwide scriptural claimsthatscientistsoncerejectedwerelatercorroboratedbysubsequentscientific Attempts toCriticize, challenged God’sword. EntitledAttemptstoQuestion, — The museumdoesnotconvey this messagethroughlanguagealone. Elementslikethe On theoppositewall, thequestion “Do different startingpointsmatterinourpersonal make senseofwherewecamefromandwhywe’rehere. (2007:9) around us. This willhelpustounderstandwhytheworldiswayittodayand worthy. We canusethiswrittenrecordasourfoundationforunderstandingtheworld tory provides awrittenrecordofaneyewitnessto(whowasalsointimatelyinvolvedin)his- Significantly, themuseumproposesthatcertaintycreationismoffersisnotlimitedto Bible toaddmillionsofyearsintohistory. Christian leaders, notwantingtoappearfoolishandunscientific, triedtoreinterpretthe suggested thattheuniversewasnotcreatedinsixdaysaboutthousandyearsago. doned it. “Millions ofyearsago...” The philosophersandscientistsoftheEnlightenment at 4004B.C. The churchquestionedit. “Is 6,000yearsenoughtime?”- Humanityaban The churchbelieved despair, confusion, andsuffering. — the CreatorGod. This eyewitnesscannotlie, soHisaccountiscompletelytrust- Attempts toPoison, andAttemptstoReplace, thesepanelsdescribecaseswhen Museum Guideassertsthatnaturalistscientistsmustuseprinciplesofcau- God’s Word. BasedontheBible, [Bishop]Usshercalculatedcreation — evolution offerswanderingambiguity, whilecreationism Attempts toDestroy, — and, isperhapsthecause Attempts toDiscredit, Performing Creationism 103 is — as other scholars have noted — even slight gestures, looks, and utterances. and utterances. looks, even slight gestures, — implies as much. implies as much. —

to enter the space with this kind of open pre- — Figure 4. “Different Starting Points” sign. Creation Museum, 17 July 2009. 2009. July 17 Museum, Creation sign. Points” Starting “Different 4. Figure Stevenson) Jill by (Photo “Prepare to Believe” — both believers and skeptics —

By borrowing the familiar, trustworthy museum motif, the Creation Museum may prompt trustworthy museum motif, By borrowing the familiar, Like a theatre performance, Like a theatre performance, soundscape and set pieces, including props and material space, a play production’s However, engagement is one of the established means by Shepherd suggests that because rhythmic many visitors paredness. Some creationists may not initially feel comfortable entering the Creation Museum Some creationists may not initially paredness. but the prominent precisely because it looks and feels like a typical natural history museum, Museum animatronic display of dinosaurs alongside humans that greets people in the Creation inside of the venue looks and while the Moreover, 3). lobby may put these visitors at ease (fig. the exterior feels like a traditional natural history museum, megachurch (Williams look of a contemporary “secular” modern, reminiscent of the large-scale, also comfort and prompt openness in certain This architectural choice might 2008:373; fig. 5). visitors will then more readily respond to the space’s Arriving in this state of openness, visitors. a museum provides visitors with a museum provides visitors In a sensual encounters. live, an aes- for example, stage play, thetic of actuality comprises the the action and elements onstage, environment and circumstances and that surround the audience, functions rhyth- this aesthetic to Simon Shepherd, According the spectators’ physical responses. the rhythm of their bodies may “a play’s rhythm works on an audience [...] In watching, mically: Every aspect of the perform- (2006:85). by the play” be confirmed or drawn into a new rhythm rhythms er’s physical and vocal presence generates or altering one’s pace or tone all constitute entering and exiting the stage, Manipulating a prop, are the sensual means by which plays communicate These rhythms changes in bodily rhythms. ideas and produce meaning. as well as fellow audience the physical environment surrounding spectators, lighting choices, elements These material also generate rhythms that enter the performance frame. members, how and thus influencing by giving it texture, contribute to a performance’s sensual aesthetic experience at the live event. spectators will generate meaning out of their in a most spectators arrive at performances which performed plays communicate meaning, a and take meaning from, expect to be confronted by, heightened state of openness; their bodies I pro- Because museums also offer visitors live sensual encounters, play’s rhythms (2006:94–95). many museumgoers will arrive at these spaces with their like performance spectators, pose that, This may hold especially true for the Creation bodies open to the venue’s rhythmic possibilities. Museum whose slogan museum prompts visitors to museum prompts on a sensory level experience consequences that the different accepting an evo- result from a rather than “theory” lutionist Empirical “certainty.” creationist to data is certainly essential mis- the Creation Museum’s reason but the primary sion, cre- this venue is an effective it pro- ationist genre is because meaning duces and reinforces within a by embedding that data sensual experience. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

104 Jill Stevenson lasting becauseitwasfosteredthroughanindividual’slivedexperience. Moreover, bymanip- meaning astheresultofconceptualblending. Suchmeaningcouldbequitepowerfulandlong- venues liketheirparishchurchesorevencitystreetscouldproducecomplexdevotional this ideawithrespecttomedievalspaces, arguingthatlaypeople’sphysicalinteractionswith in whichbodilyinteractionswithmaterialspacesengendermeaning. Inmybook, Iexplored Cognitive theory, specificallyconceptualblendingtheory, canhelpusunderstandotherways Living inaCreationist World ationist identity, andthecontrastingexperiencestheseidentitiesoffer, bymeansoftheirbodies. space thusencouragesvisitorstounderstandthedifferencesbetweenanevolutionistandacre- sensual, rhythmiccues, likethelinegraphicsin “Starting Points” exhibit. The museum 17. 16. Instead, whilespectatorsliveintheblend, theyoscillate amongmultipleframesinordertocon- those blends. Importantly, asspectatorsdo this, theydonotlosetheirframeintherealworld. (2002:83). Consequently, spectatorsataplay notonlyconstructblends, buttheyalso “live in” our consciousexperiencecomesentirelyfromtheblend identities. However, asFauconnierand Turner assert, “In thecaseofsensation andperception, ing aplay, spectatorsmakesenseoftheactionbyblending thelivingactorswithcharacters’ networks willimpacthowwederivemeaningfromtheblend (2002:104). blending mentalspacesintointegrationnetworks, the frames wechoosetoprojectintothose and participants” inthatspace. And aswe createcomplexmeaningbyconnectingorselectively ages (2002:102–4). The organizingframe “specifies thenatureofrelevantactivity, events, ing theelementswithinthem, andtherelationsbetweenthoseelements, into “known” pack- memory” andthusconnectedtoschematicknowledge. We “frame” thesespacesbyorganiz- by Jill Stevenson) Figure 5. Exterior of the Creation Museum, 17 July 2009. (Photo Performances necessitateasophisticatedprocessofblending. Forexample, whenwatch- with all types of learning; all learning is influenced by the awareness of place” (2000:62). research has revealed that ‘spatial learning’ is not just a spatialized and isolated type of learning but is integrated In their work on visitor experiences within museums, Lynn Dierking and John Falk note that “neuroscience (2010:87–113). For my discussion of conceptual blending, devotional meaning, and space in late medieval York, see Stevenson — we ‘live intheblend,’ sotospeak” motes thecreationistmessage. ter withthismaterialspacepro- the visitor’sphysicalencoun- able waystofurtheranalyzehow ceptual blendingoffersusvalu- Creation Museum. Thus, con- same istruewithrespecttothe tain ideologicaldirections. meaning-construction incer rial effects, onecouldorientthat space throughvisualormate- ulating certainelementsofthe are “entrenched inlong-term explain, thesementalspaces Fauconnier andMark Turner spaces.”ent “mental Gilles As tions intheworldintocoher transform ourvariousinterac- cognitive processbywhichwe Conceptual blendingisthe 16 The - - 17 Performing Creationism 105 - - both — Tony Bennett Tony 18 function similarly. As Tracy Davis asserts, Davis asserts, Tracy As function similarly. — a young earth creationist blend. — dioramas, dinosaurs, excavation displays, and quotations excavation displays, dinosaurs, dioramas, — Men Men science!” loves “God proclaims, White in only their outcomes.” Evolution can only be made visible through the Evolution can only be only their outcomes.” — with the biblical narrative. The traditional material rhythms of the natural his- The traditional with the biblical narrative. —

The progressive walk configuration works particularly well as a creationist tactic because it The progressive walk configuration works particularly well as a creationist tactic One of the angel-narrators in angel-narrators the of One The Creation Museum employs the same tactic. The Museum Experience Walk blends the Walk The Museum Experience tactic. The Creation Museum employs the same Spectators make meaning from a performance, in large part, through blending; as through large part, in a performance, make meaning from Spectators to how his museum con- that living in the blend is fundamental Ham would likely agree from scientists account (and for believers the biblical account tory museum verify the authority of the biblical The planetarium and the botanical garden validates the museum’s authoritative claims). venues spaces culturally legitimized as educational spatially” “visitors confront the museums’ ideologies physical encounters with displays make of the place” “a conscious performance by the visitor of the meaning while also encouraging the Creation Museum where ambulatory visitors perform This is certainly the case at (1995:16). the bible/science blend. “living in” as part of Walk the progressive structure of the Experience concept to “cements from how it effectively in great part, The venue’s power and value derive, fomenting young earth creationist ideology viscerally. thus (Davis 1995:35–36), experience” problems seem- draws attention to the problems inherent in trying to put evolution on display, curators of natural As Bennett explains, ingly absent from the museum’s bible/science blend. “the processes of evolution could not history museums have always grappled with the fact that themselves be seen “be made evident at all where it cannot even still, and, of things, “particular narrative ordering” The Creation Museum exploits (2004:161–62). sequences were interrupted and discontinuous” museum Living in the bible/science blend, this fact by offering visitors a comforting alternative. and progressive creationist narrative that resolves any unbroken, visitors experience a whole, “Helpful Hints” lingering questions about the past; as the souvenir guidebook explains on its notes that as evolutionary thought took hold in the 19th century, natural history museums in the 19th century, notes that as evolutionary thought took hold “context for a The museum space provided the increasingly embodied progressive ideologies. and mental”; when visitors followed the prescribed performance that was simultaneously bodily It was “the evolutionary narratives [the museum] instantiated were realized spatially.” routes and through the “realized or recapitulated in be critical that the museum’s evolutionary message The museum thus functioned as a performance 183). (1995:179, physical activity of the visitor” reinforced through visitor interactions with it. space whose meaning was generated and typical natural history museum motif 18. Fauconnier and Turner assert, “[theatre’s] power comes from the integration in the blend” in the blend” from the integration “[theatre’s] power comes assert, Turner and Fauconnier blends and “live in” to museums prompt visitors like a performance, argue that, I would (266). “contact Crooke calls museums their experiences inside those blends. derive meaning from is displayed come together in this that when those who have a stake in what and argues zones” she argues that at the Furthermore, ‘contact zone’ is animated.” or object as “the museum space among heritage, “push and pull” by the “energy emitted” is the core of a museum’s significance as the visitor’s “push and pull” I interpret this energetic display (2007:134). and interpretation, within the museum’s proffered blends. interactive engagement get the message because they experience “Parents say even little kids he claims, As veys meaning. Creation Museum exhibit spaces as pur I interpret the emphasis added). Arroyo 2007, (in it” For specific blends. “live in” to compel visitors (they cannot be forced) posefully designed to the Creation by using the traditional natural history museum walk-through structure, example, it also encour but account as a progressive narrative, Museum not only presents the creationist blend a bible/science “live in” ages visitors to struct meaning from the performance. The spectator’s physical experience at the performance at the performance physical experience The spectator’s from the performance. struct meaning A performance impact this oscillation. enter the frame and elements that will is one of many to the blend. significantly therefore contribute sensual elements event’s rhythmic, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

106 Jill Stevenson ­without grantinghimanyprivilegesoverotherlivingspecies” (2004:665). over therestofnature[...]Darwinianevolutionarytheoryplacesmaninlongchainlife, As GiovanniFrazzettoexplains, whiletheJudeo-Christiantraditiongiveshumanity “primacy ignorant oruncertain(Dacey2004). ples raise asmanyquestionstheyanswer. When thesequestionschallengefundamentalprinci- ums generallyoffer. The verynatureofscientificinquirymeansthatnewdiscoveriesusually mystery toscientists “makes perfectsenseinabiblicalworldview.” size theBibleascorrectstartingpoint” (AiGn.d.). As onemuseumvideoexplains, whatisa page, “The CreationMuseumhasdesignedmanyofitsexhibitsinaparticularordertoempha- 22. 21. 20. 19. “have dominion” overGod’screationandwerechargedto “subdue it.” Similarly, visitorsto ­creation. The brieffilmshowninthemuseum’sSixDays Theaterremindsviewersthathumans emphasizes humankind’sspecialrelationshipwithGod, aswellitssuperiorityoverallof in hisimageandthengavehumanssupremacyovernature. Accordingly, theCreationMuseum much smallerplace”:a6,000-year-old worldcreatedinsixdaysbyaGodwhomademankind argues, youngearthcreationismforegroundshumanity’simportancebymaking “the worlda be “very depressing,” even “cruel andwasteful” (Asma2007). Alternatively, asStephen Asma somewhat discomforting. history museumexperiencereinforcesthisworldview, theblendsitgeneratesmightfeel humanity’s God-given “dominion” overearth(inFrazzetto2004:665). about defend­ Umberto Galimberticoncludes, forsomepeopletheespousalofcreationismisthereforenot spective thateffectivelydiminisheshumanity’sauthorityandprivilege. time” (Asma2007). Evolutionarytheorypositionsnatureasindifferenttohumankind, aper many visitorsreportedfeelingvery ‘small’ incomparisonwiththevastscalesof­ the Field’sevolutionexhibitreportedastrongsenseoftheirown ‘fragility’ asaspecies, and exhibit onevolutionatChicago’sFieldMuseumindicatethat, “unprompted, patrons­ notions ofhumanauthorityanddominion. Forinstance, entranceandexitsurveysfroman The bible/scienceblendstandsinstarkcontrasttotheblendsthattraditionalsciencemuse- Young earthcreationismfindsthenotionofhumanityasinsignificantandpowerless to Data suggeststhattraditionalmuseumexhibitsonevolutiondoindeedchallenge­ Asma discusses Stephen Jay Gould’s “cold bath” theory. (Looy 2010). humans distinct from all animals, and we were made in His image and not from an ape-like creature (Genesis 1)” tossed?” He concludes by“As asserting, creationists, we can be confident of one thing: the Creator God created evolution, and now it has to be redrawn? [sic] Will some science textbooks be seen as obsolete and have to be tion begs the question: why has so much been sowrong in the evolutionists’ of human recounting of their story some media outlets of arehuman evolution now reporting that the story has to be redrawn.- That observa releases. In Mark Looy’s 9 April on AiG’s website, article he explains the find and then writes, “Interestingly, they were evidence of a “new hominid species” (Amos 2010). AiG responded and press immediately with articles sils (Australopithecus sediba) as between 1.8 and 2 million years old, and various sources popular news suggested of a female adult and a juvenile male discovered in South Africa (Berger, et al. 2010). Scientists dated the fos- A recent example was AiG’s response to the 9 April in the journal 2010 article and these regularly reinforce science is unstable with a constantly changing narrative.the idea that evolutionary AiG issues press releases in response and articles to scientific discoveries that are perceived as anti-creationist Here, Frazzetto builds upon the work of Umberto Galimberti. SUNY, Buffalo (see Dacey 2004). an adjunct professor of humanities at Polytechnic University, and an adjunct professor of science education at understandings of the self. Dacey is the United Nations representative of the Center for Inquiry Transnational, As an example, Austin Dacey cites the ways in which neuroscientific evidence has challenged many cultural — such asnotionsofconsciousnessortheself ing “human dignityinthenameofhisdivineorigin,” butratheraboutensuring 19 This seemstobethecasewithearthscienceresearch. — they mayleavepeoplefeelingevenmore Science regarding fossil remains 21 22

Sincethe­ 20 Consequently, geological natural visitors’ exiting - Performing Creationism 107 disintegration life isn’t meaningless.” — Figure 6. Graffiti Alley newspaper collage. Creation Museum, 18 July 2009. 2009. 18 July Museum, Creation collage. newspaper Alley Graffiti 6. Figure Stevenson) Jill by (Photo -

Young earth creationism provides believers with a divinely ordained sense of purpose, and and of purpose, ordained sense believers with a divinely creationism provides earth Young a dimly lit Alley,” “Graffiti visitors enter Word, attacks on God’s After the exhibit about These spaces utilize cultural cues designed to prompt an evolution/social ­ the planetarium watch a largely traditional show about the vastness of space and the cosmos. and the cosmos. the vastness of space traditional show about watch a largely the planetarium show feeling very leave a planetarium might typically when the audience at the end, However, visitors narrator reminds the film’s unimaginable dimensions, to the universe’s small in relation related A live on Earth. in his image to to create humankind the special choice that God made folks in Men “Hey, more colloquially idea is expressed in White: the Creation Museum’s rhythmically imparted aesthetic reinforces this conceit by allowing vis- rhythmically imparted aesthetic reinforces the Creation Museum’s are certain spaces in the museum However, bible/science blend. itors to live in a reassuring replicates evolution’s wandering one that not only a very different blend, designed to generate moral consequences. aligns that uncertainty with negative but also uncertainty, like stem cell research or the a collage of newspaper clippings about issues brick alley pasted in debates over issues of medi- in 2005 sparked intense public and legal which Schiavo case, Terri - This alley leads museumgo 6 & 7). and end-of-life decision-making (figs. euthanasia, cal proxy, smashes Years” “Millions of labeled room where a wrecking ball in Crisis” “Culture ers into the church. into the side of a model On the opposite side of this monitors are installed to room, look like windows in a suburban home; the museumgoer becomes privy to the family a voyeur, One members’ private troubles. monitor shows a video of two As teenage boys in a bedroom. they smoke pot they talk about the pornography that one of the boys is looking at on the inter net. The next monitor shows net. a teenage girl talking on the phone with her friend about how she’s contemplating abortion. Another video shows their dis- engaged parents — the mother is drinking wine and gossiping while in the back- with a friend, ground the father sits in the ­living room watching television. Panels around the room contain phrases that pointedly connect in the “Scripture abandoned One sign proclaims, “crises.” neglecting the bible to these cultural hopelessness and meaninglessness.” culture leads to relative morality, blend. Cognitive responses, while biological, are also culturally constructed. As Bruce are also culturally constructed. while biological, Cognitive responses, blend. ‘hard-wired’ for certain cultural responses nor “the mind/brain is neither McConachie asserts, “historical cultures narrow and shape nearly instead, ‘blank slate’ or passive recorder”; is it a “attention may be a species-level Consequently, all of the aspects of cognition and emotion.” culture helps people to learn what to pay attention to” but attribute of human consciousness, culturally coded room, “Culture in Crisis” and the Alley” “Graffiti In (McConachie 2008:122). these rooms are significantly darker For example, aesthetic cues shape the visitor’s experience. chaotic sound- The graffiti covered brick alley, and more menacing than the preceding exhibits. to feel especially children, red-hued lighting are all meant to trigger visitors, and dim, scape, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

108 Jill Stevenson 24. 23. because it is a physical space, it provides AiG with additional tactics for promoting this message. ills thatevolutionarythinkingengenders, certainlyreflects thistrendinevangelicalmedia;however, The CreationMuseum, whoseexhibitssuggestthatcreationists aretryingtosaveculturefromthe emphasis isamorerecentdevelopmentwithincreationistmedia: homosexuality, andabortion” (2004:174–75). Yet, Hendershotalsosuggeststhatthis particular “Evolutionary evangelists[...]advocatepremaritalsex, ­ Hendershot explainshow, accordingtothe1995creationistfilmWhenTwoWorldviews Collide, between evolutionarytheoryandmiseryalsohasrootsinearliercreationistfilmsvideos. Creation Museum, 18 July 2009. (Photo by Jill Stevenson) Figure 7. Graffiti Alley leading into the Culture in Crisis room. tle forthemind.” (2004:175) rhetoric, repeatedlyemphasizingthatcreationistsandevolutionists areengagedina “bat- move towardincreasingpoliticalengagement. Creationist medianowusemilitaristic ture sincetheseventies, andsincethedemiseofMIS[Moody InstituteofScience], the Contemporary creationistvideos, insum, seemto mirrorakeychangeinevangelicalcul- to the Garden?’” (in Asma 2007). to the Garden?’” place,’ referring to the museum’s dark Cave of Sorrows after Adam and Eve are cast out of Eden. ‘Can we go back Ham recounts: “I got a testimonial yesterday in an e-mail from a man whose son told him, ‘Dad, I don’t like that the original world before sin, humans and animals would never die.” humans have ‘life’ (Hebrew One sign in “Corruption Valley” reads: “Before Adam’s Sin No Death. According to the Bible, animals and nephesh), but plants do not. So humans and animals were created to eat plants, and in physician-assisted suicide, divorce, museum experience. person makesmeaningfromthe where itwillimpacthowthat ferings intothevisitor’sbody ing God’s Word) andlife’ssuf- as theprimeexampleofreject- fied throughoutthemuseum evolutionary theory(identi- embeds anassociationbetween God’s Word.ing echoing This that bothresultfromneglect- to Adam’s originalsin, implying “evils” ofcontemporaryculture The sensualreiterationlinksthe rous animatronicdinosaur. a large, threatening, carnivo- wrought by Adam’s sin, houses which outlinesspecificchanges genocide. “CorruptionValley,” ty’s fall:starvation, murder, pain, of theconsequenceshumani- “Cave ofSorrows” depictsome graphs anddioramasinthe Valley” exhibits. The photo- of Sorrows” and “Corruption thetic recurslaterinthe “Cave Moreover, thissame­ frightened whileintheserooms. apprehensive, anxious, oreven able science, theassociation As withthefocusonobserv- 24 sensual aes- 23

Performing Creationism 109 the Creation — Even more poignantly, in his Even more poignantly, if unconsciously — bible/science and evolution/social disin- and evolution/social bible/science — the Creation Museum experience implies that accepting biblical truth and its sal- biblical truth and implies that accepting Museum experience the Creation

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By offering visitors two opposing sensual blends visitors two opposing By offering Embodied knowledge cannot be underestimated. Jandos Rothstein argues that children Embodied knowledge cannot be underestimated. The message could not be clearer: if you accept anything less than the young-earth cre- less than the if you accept anything could not be clearer: The message will no doubt become an atheist. or later your church will die and you sooner ationist view, Insistence things might improve. if you accept the biblical worldview, On the other hand, (2008:25) church generally. just a first step toward renewing the on biblical science is the chaos of nature through history museums that tried to control Like 19th-century natural even validate The language used by some reviewers may Whether you are willing to grant the premises of this museum almost becomes irrele- Whether you are willing to grant the premises it spectacle and narrative [...] For the believer, vant as you are drawn into its mixture of it really this museum provides a kind of relief: Finally the world is being shown as seems, (2007) without the distortions of secularism and natural selection. is, A group of scientists visited the Creation Museum in June 2009 as part of a North American Museum in June 2009 as part of a North A group of scientists visited the Creation it exists [...] but “I hate that One professor conceded, Paleontological Convention day-trip. show if you can They put on a very good you can have a good time here. given that it exists, McConachie reminds us that con- Yet handle the suspension of disbelief” (in Chang 2009). thereby challenging the ceptual blending emphasizes the agency of theatrical spectatorship, Conceptual suspend disbelief. willingly museum visitors, in this case, idea that theatregoers or, spectators are instead engaged or dismissing inputs, rather than ignoring blending suggests that, imaginatively museum visitors Likewise, (McConachie 2007:559). “imaginative addition” in physi- insert themselves into the material world they see and into the narrative they watch, One reason we visit museums is to have exactly perform. ultimately, and, cally travel through, The knowledge gained is long-lasting and deeply entrenched this kind of immediate experience. precisely because we embody it. which they will find later will leave the Creation Museum wanting more concrete answers, I would argue that while visiting the Instead, in secular science books and classes (2008:101). one that employs exciting sci- museum children live in a materially realized creationist world, in entific evidence and spectacular physical effects (like rumbling seats and water splashing Bodying Forth Belief Forth Bodying tegration accepting Furthermore, of modern life. distress and suffering will alleviate the vation message as Byassee says, from) rejecting Christianity; inseparable (and is essentially evolution constitutes in the choice between evolution and much more is at stake point of view, From the creationists’ an individual’s own soul. creationism than simply to Word Museum uses God’s the Creation of observation and logic, Enlightenment principles “choosing a biblical story of origins that Asma suggests of 21st-century life. the chaos “control” comfort is not only mental or meta- Such (2007). cultural baggage” brings with it comforting bodily comfort and relief from the museum likely provides actual visitors, For many phorical. be destructive forces in society. what they perceive to Museum’s ability to achieve this experiential objective. Writing for the Chronicle of Higher Writing objective. Museum’s ability to achieve this experiential ‘reasonableness’ the “something slowly happens to your criteria of Asma admits that Education, (2007). worldview” more you become immersed in this creationist review, Edward Rothstein asserts, review, Times New York proposing the suggestion of bodily understanding, But Rothstein also concludes his piece with the world before all Adam emerging from Eden, “leaves feeling a bit like that even the skeptic Rothstein seems to (2007). freshly amazed at its strangeness and extravagant peculiarities” him, does change (if only temporarily) how visitors sub- imply that the Creation Museum experience how they will ultimately understand it. and thus, sequently perceive and engage the world, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

110 Jill Stevenson begins fromhumanreasonandthereforebelievesinevolution. God’s Word. Despitethisfact, hemaintainsafriendshipwithKim, afellowpaleontologistwho exhibit. Heintroduceshimselfasapaleontologistwhobeginshisworkfromthepremiseof trust andconfidence. Visitors firstseethisnarratorinavideo aspartofthe “StartingPoints” and SantaClaus-likeappearance(completewithatwinkleinhiseye)helpgainthespectator’s videos scatteredthroughoutthemuseum. Hiscalm, reasonablevoice, compassionatedemeanor, quently emulate. This thoughtful, grandfatherlymannarratesnearlyalloftheshortfilmsand evolutionary theorythattheycanuselater. include manyhands-onexhibits, itdoesofferguestsdifferentwaysto “rehearse” responsesto they mightthenuseintherealworld(2006:291–93). Although theCreationMuseumdoesn’t ties inlivinghistorymuseumsoffervisitorsopportunitiestorehearsealternativeactions, which offering visitorsavivid, kinetic, gestaltexperienceoflivinginit. the CreationMuseumshapesbeliefaboutpastbygivingbiblicalnarrativeactualityand account of is notblindfaith;ratheritconstitutes “an informedspeciesofdecision-making, whichtakes that someperformancesrequirespectatorstotakeleapsoffaith. However, thiskindof “belief” concrete answersandservestoembedcreationistbeliefinthebody. NaomiRokotnitzargues church leaders, andtheBiblehavetaughtthem. This museumexperienceprovidesextremely their facesduringafilmsegmentaboutthebiblicalFlood)toconfirmwhatfamilymembers, 28. 27. 26. 25. once theyleavethemuseum. tors canadoptintheirownlives, butexhibitsalsopreparevisitorsto “body forth” thisidentity that willimpacttheiractionsaftertheyleave. AiG usesperformativetacticstoachievethisgoal. tory museums, acrucialpartoftheCreationMuseum’smissionistoinspirechangeinvisitors sons ofhistorysothattheywillactresponsiblyinthepresent. face conflictsinhistoryandunderstandtheirconsequences;tohelppeoplelearnfromtheles- tory museums:togivevoiceandconcreteformtheothersideofstory;makepeople marginalized. Inthisrespect, theCreationMuseum’saimsareakintothoseofmanylivinghis- easily rendernull. the statusoftruth, truththatsubsequentencounterswithtextbooksandscienceclasseswon’t future conversationswhenquestionedabouttheircreationist beliefs. But, importantly, thisfig- framed asthepaleontologist-narrator’spersonaltestimonyof faith. the MuseumExperience WalkLast Adam . entitledThe This filmaboutChrist’scrucifixionis Ages serveasevidencethatdinosaurslivedalongsidehumans. Healsonarratesthefinalfilmin gist returnsinsubsequentfilmsandvideos. HeteachesusthatdragonlegendsfromtheMiddle First, themuseumgivesvisitorsamodelcreationistwithwhomtheycanidentifyandsubse- The CreationMuseumnotonlyconstructsaclearlydefinedcreationistidentitythatvisi- For youngearthcreationists, thismuseumendorsesanhistoricalnarrativethatisusually This recurringcharacterprovidesvisitorswithconsideredarguments thattheycanusein narrator is Caucasian. It that the actor playing the evolutionist is Kim appears perhaps to noteworthy be of Asian descent, while the originating site” (1994:4). sense of being ‘bodied forth,’ oriented in terms of a body that exists not just as the object of perception, but as its being comprised of bodies positioned within aperceptual field, but it is also ‘bodied’ in the more fundamental Here I am using Stanton Garner Jr.’s phrase. Garner proposes that “theatrical space is ‘bodied’ in the sense of (2008:162). Annalee Ward notes that Holy Land Experience theme park “describes museum” itself as a living history These are some of the goals that Scott museums (2006:291–312). Magelssen associates with living history gestalt” and cannot analyze distinct aspects of it (1992:93). Dierking and Falk cite consistent evidence demonstrating that “visitors perceive their museum experience as a — and trusts — embodied knowledge” (Rokotnitz2006:138). Likeaperformance, 27 ScottMagelssenproposesthatinteractive, role-playingactivi- 26 28 Therefore, likemanylivinghis- 25 The creationistpaleontolo- Bodilyknowledgeassumes Performing Creationism 111 - Many of the objects for sale at the Creation Museum are designed to “give Museum are designed to Many of the objects for sale at the Creation 29

Rayner analyzes stage props specifically and uses this phrase with respect to the work of Tadeusz Kantor. Tadeusz of work the to respect with phrase this uses and specifically props stage analyzes Rayner .alrcnewskitchen.com/creationmuseum/index.htm. .alrcnewskitchen.com/creationmuseum/index.htm. (16 April). www.aam-us.org/pressreleases.cfm?mode=list&id=21 Trust.” They Can Really of Information (27 September). news.bbc.co.uk/2/hi/science/nature/8609192.stm (27 September 2011). During my time in the Creation Museum, I overheard many conversations that indicated, at that indicated, many conversations I overheard Museum, time in the Creation During my their faith by offering them the museum experience probably bolsters For these visitors, will allow visitors to take the rhythms of creation- The bookstore also sells many items that 29. American Association of Museums. 2001. “AAM Press Release: Americans Identify Museums as a Source Press Release: “AAM 2001. Association of Museums. American http:// April. 8 BBC News, African fossils could be new hominid species.” “South 2010. Jonathan. Amos, References www “Creation Museum Online Newsroom.” 2010. Larry Ross Communications). ALRC (A. ance in his personal history and testimony. personal history and ance in his - was presented through account as it agreed with the creationist that most visitors least to me, among three people walking to the such as those certainly existed, Differences out the exhibits. But in all of the conversa- debating the particular timing of the Rapture. picnic area who were of young earth creationism were it seemed that the fundamental principles tions that I heard, it just makes sense.” you see all of this, “When As one museumgoer said, not under dispute. can draw upon once they that endorse their worldview and that they facts and arguments but rather an important part future experiences are not separate from, Those return home. “subsequent Dierking and John Falk explain, As Lynn encounter. the Creation Museum of, contribute to what some- dramatically reinforcing and others not, sometimes experiences, unfold for the individual after the It is only as events from the museum. one eventually learns inside the institution become relevant and useful” museum visit that experiences that occurred an essential component because he allows visitors The narrator figure is therefore (2000:128). with people who do not agree with the cre- vicariously for future conversations “rehearse” to utilize. and even furnishes them with scripted soundbites they might ationist account, hats, T-shirts, books, These include videos, ist belief from the museum out into the world. David Morgan ana- and postcards. jewelry, bumper stickers, magnets, buttons, stuffed dinosaurs, popular religious objects fulfill for Christians: edu- lyzes a number of different functions that maintaining traditions across providing daily sacred encounters, cating children in the faith, and witness- protecting those who carry them, commemorating important events, generations, Dragon Hall Many of these functions pertain to the items found in the ing faith (1998:152–80). “sense to his- give an object’s material presence can also Alice Rayner argues, But as Bookstore. (2006:196). tory” ure also embodies a calm, informed presence; he has resolved any potential conflicts between conflicts between has resolved any potential presence; he informed a calm, ure also embodies invit- are culturally coded, and demeanor His appearance faith. profession and his his scientific reassur with him and find identify comfortably to white, who are predominantly ing spectators, sense” to sacred, biblical history. When a believer uses one of these objects, he or she effec- When a believer uses one of these objects, biblical history. to sacred, sense” time that is not separate from the object (as in “touches time in the register of the senses, tively Purchased (Rayner 2006:192). the effects of time) but incorporated as the object in its present” home a world housed in a building that may even look like the visitor’s in a creationist world, of the the object’s user might understand it as imbued with the power and authority church, objects thereby These especially if worn or carried during the museum visit. biblical narrative, giving sense to but also not only giving sense to history, become material extensions of faith, during a Creation Museum visit enable belief to assume While the kinetic experiences belief. even body forth, material objects offer visitors another way to carry forth, the status of truth, that truth into the world. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00145 by guest on 26September 2021

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