Doctor of Philosophy, The Ohio State University, 1997, Graduate School

Committee: Not Provided (Other) Subjects: Education

Master of Arts, The Ohio State University, 2009, African-American and African Studies

The representation of freed and enslaved people of African descent at sites such as Elmina, Ghana, and Williamsburg, Virginia, are subject to much criticism and praise. “Founded” by the Portuguese in 1482 and later controlled by the Dutch, Elmina is distinguished as the first of its kind. Initially established as a trading center between Africans and Europeans, those interactions soon gave birth to Elmina as a dungeon for holding Africans as slaves for sale into slavery. Williamsburg, a living history museum, is identified as the second colonial capital following the Jamestown settlement. On the eve of the American Revolution its citizens were confronted with questions of freedom, independence, and bondage. While many white settlers fought for independence and freedom from England, they simultaneously embodied slavery and unequal treatment towards enslaved and free African Americans.Today, both Elmina and Williamsburg reflect historical spaces as memory of the past. This thesis explores the ways that contemporary historical interpreters depict Elmina and Williamsburg. Some of the goals of this thesis are to study and analyze the sites' contemporary flaws, the sources these flaws, the ways that the histories of these sites are packaged for guests, and to explore how the sites' guests are encouraged to re-interpret and identify with the trans-Atlantic slave trade and slavery. A comparative analysis of the ways that Elmina and Williamsburg are interpreted by visitors, site administrators and the people that live in and around these sites was conducted to understand how these sites are memorialized. Finally, this thesis addresses questions of “musemification,” preservation, tourism, and the role that these sites play in shaping contemporary identities within and outside the African Diaspora

Committee: Walter Rucker PhD (Advisor); Leslie Alexander PhD (Committee Member); Ahmad Sikainga PhD (Committee Member) Subjects: African Americans; African History; Cultural Anthropology; History; Library Science; Museums

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2006, Theatre and Film

Throughout the twentieth century, historians have sought a variety of new ways to engage history, many through the use of performance techniques. New methodologies aided by technology have allowed historians to gain new insights into the past and share those insights with the public. In this study I examine how four methodologies have influenced each other in attempt to achieve this goal: two living history museums: Colonial Williamsburg and Plimoth Plantation; one outdoor historical drama, Trumpet in the Land; three examples of experimental archaeology: the Pamunkey Project, Buckskinners, and the Washburn-Norlands Center; and two PBS productions about living in the past: Frontier House and Colonial House. These categories have two things in common. First they are all attempting to examine some aspect or event from the past, second they all use performance techniques to do this. My argument for this study lies in a two-fold examination. First, in discussing the constructs of each of these methodologies, I argue that it is apparent that the first three categories have been highly influential in the development of the fourth. Second, the misuse of performance techniques has proven ultimately problematic for the PBS productions in their declared efforts to take a step back in time. With the exception of the outdoor historical dramas, which I use as an obvious example of performance and history coming together, those involved with the other categories tend to distance themselves from being associated with other theatrical endeavors believing that such an association diminishes their efforts. These attitudes tend to be based in antitheatrical sentiments which prove to be counter productive to their goals of better engaging past.

Committee: James Forse (Advisor) Subjects: Theater