Do This, NOT That: AAPI Civil War Service [Response Post on Best History Practices]

I've had this post mostly written for weeks, and debated whether to make it public or not.  On this last day of AAPI month, I figured better now than never, and clicked the bright, orange "publish" button with the paper airplane emoji.  So if this post reached you - welcome, and let's dive into some best history practices around sharing AAPI Civil War history. 

[Disclaimer: this post will be a departure from my historical sewing content, but I felt important to discuss as we continue to honor and celebrate Asian American, Native Hawaiian, & Pacific Islander voices, communities, and history throughout May, and all year round.  The opinions expressed here are solely my own, and do not reflect the views of my employers.] 

Going all the way back to the first weekend of May, I had the chance to return to New-York Historical Society as part of their Asian American & Pacific Islander (AAPI) family day, and present a living history program honoring the lives and legacies of Chinese participants in the American Civil War.  Right as I was posting pictures from the program, I had a friend bring a problematic post on the subject to my attention.  Usually, I would not take the time to respond to a post like this as there is little that would change the minds of those who wrote it.  

That said, what really caught my attention was that it had been liked by over 2.6 thousand Civil War enthusiasts, and shared at least 367 times (publicly) and counting, [note: these numbers may have increased from the initial drafting of this post].  I viewed this as an opportunity to educate - both sharing in the responsibility to stop the spread of misinformation around the topic, and promoting better history practices in any small circles I may have influence.  Again, I do not expect the original poster(s) to take note or notice of my opinions - and invite anyone reading this response post to keep an open mind and please be civil in the comments section - thank you. 

First, a little background - in my living history programs and lectures on the subject, I do discuss Chinese participation on both sides of the Civil War to fully contextual experiences and present accurate, truthful history.  My interpretations are supported by extensive historical research, including both primary sources whenever possible and reputable secondary sources.

History is no dichotomy, which the Civil War is too often boiled down to - blue and grey, Union and Confederate, brother against brother.  There will always be exceptions to our assumptions and norms, and those who seek to cling to and/or glorify these examples to fit specific, biased narratives.  Yes, there were a handful of Chinese and AAPI combatants serving the Confederacy - many were forcibly conscripted or even enslaved servants, and proximate location and language barriers may factor into voluntary enlistment.  There were also staunch Chinese Confederates and enslavers of African Americans themselves, with the Bunker family being that one exception here.  History is complicated - and it would be a great disservice to Chinese and AAPI veterans to strip them of these nuances - much like their citizenship, civil rights, and memory have been in the American past.  Furthermore, to weaponize their stories and struggles to serve a Confederate-sympathizing agenda is in no way honoring Asian American, Native Hawaiian, & Pacific Islander month - and to suggest so, as the original post has done, is equally distasteful and appalling. 

For reference, here is the original post in question - please note, I am purposely not revealing the identities of the original poster(s), as the purpose of my response is to educate.  The post appears in a popular, neo-Confederate nonprofit chapter with a large following (91K+ likes, 99K+ followers), who claims to be the "pre-eminent authority on Southern Heritage."

Original post from a popular, neo-Confederate nonprofit chapter.
Source: Facebook community, posted May 1, 2024

On first glance, you might be wondering:  what makes this post so problematic?  Allow me to share my thoughts here, and offer some suggests for more ethical history practices: 

Problem #1:  Looking at the first line, we see May declared as "Asian Confederate History Month," and this is echoed in the text of the picture: "Happy Asian American History Month."  Neither of these are the correct names for the annual commemorative month, which honors the roles and achievements of generations of Asian Americans, Native Hawaiians, and Pacific Islanders (AANHPIs) who have "enriched America's history and are instrumental in its future success" (Learn more about: Asian & Pacific American Heritage Month). 

Better History Practice:  On the surface, repurposing a title can be overlooked - sure, it's a small thing!  However, this action may unintentionally disregard both the fight for AAPI recognition and the lengthy Congressional battle to declaring a heritage month; as well as ignoring the intentions behind the history and heritages being commemorated.  

To summarize the history of AAPI Heritage Month, the origins date back to the first failed House Joint Resolution 540 in 1977.  President Jimmy Carter signed a later resolution into Public Law 95-419 on October 5, 1978, proclaiming the "7 day period beginning on May 4, 1979 as [the first] 'Asian/Pacific American Heritage Week.'"  This would later be expanded by Congressional Public Law 102-450 in 1992, which designated the entire month of May as Asian American & Pacific Islander Heritage Month.  May was specifically chosen to "commemorate the immigration of the first Japanese to the United States on May 7, 1843, and to mark the anniversary of the completion of the transcontinental railroad on May 10, 1869" - an event the Chinese immigrants and laborers who laid the tracks were excluded from.  In a country that has exploited; excluded; wrongly accused and imprisoned in concentration (internment) camps; disenfranchised; and all but forgotten AAPI contributions and history - declaring May our heritage month is a small, yet significant step to acknowledging historical betrayals, and promoting collective healing and tolerance. 

Problem #2:  If the goal was truly to "Celebrate those Asians that Fought for the Confederacy" (sentence 2), honor them by saying their names.  If you can name the battle they died at, you most certainly can name person.  When they made the ultimate sacrifice, the least we can do is to make sure their names are not forgotten (again).

Better History Practice:  Instead of this: "One Chinese that died at Chickamauga & one at Franklin" (sentence 3).  Be more specific, like this: "One example from the few, confirmed Chinese Confederate veterans was Christopher Wren Bunker and his cousin, Stephan Decatur Bunker, who both served in the 37th Battalion of the Virginia Calvary."

Even better, give some biographical details about them and their service, like this:  

Christopher Wren Bunker and Stephen Decatur Bunker were sons of the famous conjoined twins, Cheng and Eng Bunker, and well-known examples of Chinese Confederate veterans.  The Bunker families owned 110 acres of land divided between the two households, and enslaved 33 Black men and women.  Cheng and Eng were staunch Confederate sympathizers, supplying money, food, and clothing to the troops; and even housed and nursed wounded Confederate soldiers at their North Carolina plantations.  Of their 22 children, only two sons enlisted at age 18, and were considered excellent marksmen by all accounts.  

Left: Christopher Wren Bunker, 37th Battalion of the Virginia Calvary.
Right: Christopher's letter, dated October 12,1864, from Camp Chase to his family. 
This is one of seven digitized letters, 1863-1864, in the UNC Collections.

Christopher Wren Bunker enlisted in the 37th Battalion of the Virginia Calvary on April 1, 1863.  The first action he saw was the burning of Chambersburg, PA, which was the only town in the North destroyed by Confederate forces in 1864.  He was wounded on August 7th, when the Union caught up with General McCausland's forces; and then imprisoned at Camp Chase, which was near Columbus, OH.  When word of imprisonment reached home, his father, Chang, sent him packages to supplement the meager rations, as well as money to buy comfort items, until he was exchanged for a Union prisoner of war on March 4, 1865.    

Stephan Decatur Bunker, following his cousin's example, enlisted in the same 37th Battalion, Virginia Calvary, on July 2, 1864.  He was wounded on September 3, 1864 near Winchester, VA, recovered, and was sent back into action.  After the Civil War's end, both Christopher and Stephan returned to run the family plantations, which were spared by Union forces; while their fathers, Chang and Eng, returned to touring to raise money.  They lost a majority of their income after the collapse of Confederate currency, and, of course, having to pay formally-enslaved laborers. 

Today, the Bunker legacy lives on, as descendants from both families continue to gather for the annual Bunker Reunion in Mount Airy, North Carolina. 

Equally important and before glorifying, remember that the Bunker cousins were the rare exceptions, and the only (to my knowledge) Chinese Confederates fighting in defense of their plantation and lifestyle, which depended on the continued enslavement and forced labor of African Americans.  There were others, like John Fouenty, who after escaping enslavement himself, was forcibly conscripted in Savannah, GA, while trying to secure his passage back to China.  Thus, responsible history practitioners should always contextualize AAPI Confederate service and experiences, and consider motivations (or traps) behind enlistment (versus forced conscription and/or enslavement).  Major factors included language barriers, geographical proximity (especially in Southern port cities), (false) promises of money and citizenship, call of adventure, and desire to belong and defend an adopted country.

Problem #3A:  As a certified Diversity, Equity, & Inclusion (DEI) professional, I spent a lot of time training historical interpreters and museum staff to use person-first language.  Person-first language humanizes individuals, and puts the person, rather than a descriptor or condition, front and center.  For instance, instead of saying "I saw a white walking down the street" - we would say "I saw a white person walking down the street" or "I saw a white family walking down the street."  This intentional action not only restores their personhood, but is also grammatically correct - bonus points!  

The same should be applied to the usage of "one Chinese" (sentence 2), "another Chinese" (sentence 3), and "one Pilipino [sic]" (sentence 4).  "Chinese" is a nationality, a proud identity, and a descriptor - it does not stand alone as a person.  Instead, make sure you include the person (noun) - like in these examples: a "Chinese person," a "Chinese serviceman," or "Chinese veterans." 

Problem #3B:  On the subject of identities and nationalities, we see "Philipino" (sentence 4) used in reference to the "Filipino" people.  The original poster was corrected multiple times in the comments, and by members from the Filipino community too.  Of course, I don't believe this typo was intentional or malicious, but the refusal to edit or correct the misspelling (after being repeatedly called out), certainly sends a message.  

Better History Practice:  If the intention was truly to celebrate Asian identities, using the correct and preferred spelling would be an easy and great place to start.  Not to mention, as we've already discussed in #2 and #3A, let's say their names. 

Probably the best-known (and photographed) example of a Filipino soldier was Private Felix Cornelius Balderry of the 11th Michigan Volunteers, Company A.  He was working as a farmhand in Michigan prior to his enlistment in the Union Army on December 7, 1863 at Kalamazoo, MI.  He served through the end of the war, and was mustered out in September 1865.

Private Felix Cornelius Balderry of the 11th Michigan Volunteers, Company A

For those looking for more information on Filipino servicemen, the official National Park Service Handbook on Asian and Pacific Islanders and the Civil War provides a comprehensive biography on Balderry, and honor roll of Filipino soldiers and sailors.

Problem #4:  Turning attention to sentence 3: "There was another Chinese that took Christianity back to China after the war."  While there is truth in this statement (see Dzau Tsz-Zeh's story below), the vagueness (and unspoken implications) are a little troubling due to the lack of contextualizing missionary activities in China.  There is a lot of dark history and trauma around missionaries and imperializing activities, to the tune of "saving heathens" and conversion by the sword.  I am not going to say much more on this subject now, since it is outside the scope of this post - except that #2 and #3a apply to sentence 3 as well. 

Historical Context:  As far as saying their name, I believe this sentence may be referring to Rev. Dzau Tsz-Zeh, renamed Charles Marshall.  "Charlie" was only 14 years old when he accompanied David C. Kelly, an officer in the 3rd Regiment of the Tennessee Calvary, as his personal attendant and servant.  

Rev. Dzau Tsz-Zeh, renamed Charles "Charlie" Marshall. 
Personal attendant to David C. Kelly, 3rd Regiment of the Tennessee Cavalry.

After being orphaned at age 10, Dzau Tsz-Zeh was taken in by Rev. James William Lambuth, a missionary in Shanghai, to be educated in America and then return to continue ministry in China.  This was a relatively common arrangement - and as early as 1818, American missionaries were sponsoring young Chinese boys for study in the Northeast US, and receiving much financial support for "saving heathens."  In fact, there were other Chinese Civil War servicemen who would return to China to continue their ministry, including Hong Neok Woo, of the 50th Regiment Infantry, Pennsylvania Volunteer Emergency Militia.  

Arriving in Mississippi in 1859, Tsz-Zeh was baptized and took the name of his benefactor, Dr. Charles K. Marshall.  He was attending school in Lebanon, TN, under the care of David C. Kelley when the war broke out.  14-year-old Charlie likely had to fight alongside his master, and had one of his hands partially crushed by a cassion wheel during the Battle of Fort Donelson in 1862.  After the Civil War, he fulfilled his commitments to study, and returned to China as a missionary for the Methodist Episcopal Church.  Rev. Dzau Tsz-Zeh was ordained as a minister in 1876, founded both a boys school and the Soochow (Suzhou) Women's Hospital, after pursuing medical training as part of his mission work. 

Problem #5:  Lastly, we must discuss the misidentified photograph, which depicts arguably the most recognizable Chinese Civil War soldier, Corporal Joseph Pierce of the 14th Connecticut Volunteer Infantry, Company F.  While the original post did not acknowledge the soldier's identity, or credit the image source, the author's comments clearly suggested that they (among many others who "liked" the post) believed this to be a photograph of a Confederate soldier.  Despite being repeatedly corrected and presented with more information on Pierce, the author and other "supporters" stuck to their alternate version of history.

Here is one example, of many, where a commenter points out the mistaken identity - to which the author of the original post replied: "what happens when you got your history from pictures."  Perhaps we can appreciate the irony here, as a simple and quick Google search would have provided the original photograph of Corporal Joseph Pierce, which is held in the Liljenquist Family Collection of Civil War Photographs at the Library of Congress (LOT 15158-1, no. 257).

Facebook post comment #1 - including author's response to corrected identity.

Here is another example where a commenter insists that the depicted "Uniform is definitely Confederate" - and is corrected.  I happen to know the second commenter personally, and they are a well-known tintype artist and historian.  In their answer, they provide more information on how the "indigo dye of many federal uniforms turns lighter grey when shot in Wetplate collodion."  Photographs may be "worth a thousand words" as primary sources go - but only as long as we interpret what is seen or physically observable, and avoid inventing our own conclusions without supporting documentation (facts).

Facebook post comment #2 - including information on color perceptions in the Wetplate collodion
(tintype) process from a well-known tintype artist & historian.

Reading through more top comments, the author begins volleying insults about others intelligence, and ultimately, disabled commenting entirely.  (Otherwise I might be tempted to drop a link to my response post haha!)  We all make mistakes - and while it may be temporarily embarrassing to be fact-checked on a public forum, a little grace would go a long way.  The responsible history practice would be to simply edit or update your post, and issue a correction or explanation, in cases where your research proves otherwise. 

This author response was copied and pasted several times throughout the comments, mostly in response to corrections about the photograph - "Do some research before making stupid comments please."  (Not to mention, the Bunkers were cousins, not brothers...)  The lack of self-awareness astounds:

Facebook post comment #3 - advice from the author of the original post.

Maybe next time they might consider their own advice and do some more research before posting...or at least acknowledge Corporal Joseph Pierce and properly credit the source.  Better yet, remove the picture entirely, since Pierce might not be too happy to know his image is being used to glorify Confederate legacy. 

By the way, here is the original photograph, which I believe was artistically enhanced for the Facebook post:

Corporal Joseph Pierce of Co. F, 14th Connecticut Infantry Regiment by William Hunt, 1862.
Liljenquist Family Collection of Civil War Photographs, Library of Congress (LOT 15158-1, no. 257)

Joseph Pierce was born in Canton, China, and at the age of 10, his father sold him to Captain Amos Peck for $6 to feed the starving family.  Captain Peck brought Joseph to Berlin, Connecticut, and left the young boy in the care of his parents.  Joseph went on to enlist on July 26, 1862, and served in 14th Connecticut Volunteer Infantry, Company F.  He fought in many battles, including: Chancellorsville; Pickett's Charge at Gettysburg; High Bridge and Farmville during the Siege of Petersburg.  For his dedication, he was promoted to corporal on November 1, 1863, making him one of three Chinese soldiers to rise through the ranks in all-white units.  He continued to serve until the end of the war, when his regiment was given the honor of leading the 2nd Corps on the homeward march.  Corporal Joseph Pierce even participated in the Grand Review of the Armies in Washington D.C. on May 23rd, 1865, before returning to Connecticut and becoming a silver engraver. 

While we are all entitled to our own opinions, as Civil War historians and history practitioners, we are responsible for providing accurate and factual information.  It is concerning and problematic for posts like these to be generated and promoted as "inclusive history" (when they are far from it) by popular and trusted sources for Civil War and Confederate history - and then widely circulated through social media algorithms that favor posts with 2.6K+ likes and 367+ shares and counting.  Thus, overshadowing the perhaps less sensational, but well-researched and expert content truly honoring AAPI service and contributions during the American Civil War. 

Concluding Thoughts

I would like to end this post with a call-to-action, if you will - and some suggestions for leveling-up your AAPI Civil War & living history practices: 

Solution #1: Above all, do your research, and be sure to check your sources for accuracy and consider any bias(es)!  A cursory search on Google will return mixed results of both current and outdated (bad) research, so it is always best to consult multiple and primary sources whenever possible. 

Here are some trusted sources on the topic to start: 

• The official National Park Service Handbook on Asian and Pacific Islanders in the Civil War
• The Blue, the Gray and the Chinese by Alex Jay, which is an outstanding compilation of biographies and primary sources 
• For Confederate AAPI history specifically, see this article: "Native and Foreign-born Chinese Confederates In The War Between The States" published on the Southern Fried Common Sense & Stuff blog, which is run by a self-identifying Christian writer & Civil War history buff from South Carolina.  I especially appreciate their opening line and dedication: "The following blog post is dedicated to the memories of those Confederate veterans of Asian descent and their descendants living today -- and to the ongoing campaign to stop anti-Asian hatred in the United States today that this blogger fully supports."

Solution #2:  Attend lectures, listen to podcasts, and read materials written by experts on the topic.  

• Watch a digital recording of AAPI Civil War historian and author, Irving Moy's recent presentation for the Connecticut Museum of Culture & History: "The Forgotten Chinese Generations"  
• Catch Stephan Phan, military history scholar and Chief of Interpretation, Education, and Visitor Services at Camp Nelson National Monument, and his past lecture for the Pasadena Civil War Round Table: "A World Away: Asian and Pacific Islanders and the Civil War"
• I also have an upcoming virtual lecture with LancasterHistory this Fall 2024! 

Solution #3:  Share this history with others.  Within your social circles and on social media, start sharing interesting online articles, books, lectures, events, and even museum exhibits on AAPI history to raise awareness and interest in the subject.  Help circulate and boost examples of "good history" for those algorithms!

Solution #4:  Advocate or be an advocate.  This looks like speaking (or typing) out to correct misinformation, and interrupting when you hear or see cultural ignorance, appropriation, racism, and exclusion happening in your circles.  Always lead with the facts, and if people are receptive, point them to places where they can find more information.

Remember, who you follow, what you "like" on social media, and when you choose to speak up - or to stay silent - matters! 

Solution #5:  Before you publish, consider if your post will truly honor or harm the community.  Unfortunately, intention and impact do not always go hand-in-hand.  Actively listen when members of the impacted community voice concerns, and be willing to take accountability and apologize if something goes wrong.

Solution #6: Support public historians and authors from the AAPI community, and their continued research on AAPI Civil War history and legacy.  Support takes many forms, including interacting with content on social media; attending virtual and in-person programs; inviting to your events; purchasing books or subscriptions to content; or even direct donations, if your means allow. 

Personally, I would love more opportunities to share AAPI Civil War history at historical sites, museums, living history events, and even reenactments - so if you'd like me to come to your Civil War event, feel free to drop me a line! 

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and AAPI history programs?  Consider joining us over on Patreon with pledges starting at $2/month to enjoy bonus content!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

Culture Not Costume: A Practical Guide to Avoiding Cultural Appropriation

The online costuming conference last weekend, Costume On 2: Tailored, was a great success, and to all of those who attended my lectures - thank you!  I learned just as much about presenting as I hope participants did from the talks, and I look forward to future opportunities to share that research again!  

Before I file my notes away, I did want to share what ended up being part of the conclusion of my second session, which discussed Orientalism in all of its complexities - including both historical and modern applications to fashion, textiles, and accessories.  The last few slides focused on defining appreciation and appropriation, and I offered some guidelines or advice for applying culturally sensitive practices to our modern, historical costuming.  However, I don't feel that one slide at the end really gave enough attention to this important topic, so I thought I'd follow up today with a blog post.  This is intended as a practical guide for avoiding cultural appropriation in costuming, and while it's by no means all-inclusive, it offers a start.  So, without further ado, let's dive in:

First, let's discuss: what is appropriation?  The online Oxford English dictionary provides the following definition, stating that appropriation is the "action of taking something for one's own use, typically without the owner's permission."  So when applied to culture, it is the intentional (or sometimes unintentional) copying of another culture's intellectual or material property.  This includes, but is not limited to a culture's specific customs, traditions, or forms of expression, be it through music and dance, language, food, and, of course, clothing.  Appropriation differs from "cultural borrowing" in that it is done without the permission of that culture, and often without respect or understanding for the significance of what is being taken.  This is especially harmful when the community that is the source is a minority group that has been oppressed or exploited by the more dominant society, who profits either politically, economically, or socially from the taking.  

So when avoiding appropriation in own costuming, as a community, we must be more aware when we culturally-cross dress.  Cultural awareness goes beyond simply avoiding using sacred or highly specific, traditional motifs, as we must consider the interests of the culture whose clothing or materials or being used.  These actions fall under what is described as cultural appreciation.  Cultural appreciation is characterized by having a genuine and authentic interest in another culture - by listening to the native perspective, learning about their history, and then understanding the significance of the object within its original context.  Unlike appropriation, appreciation is an active exchange that is mutually beneficial, whether that includes a monetary exchange or just a better understanding on both sides.  

I LOVE this illustration - culture is NOT a costume! 
(Image source: The Odyssey)

Cultural borrowing in itself is not problematic, in fact, it's a wonderful, beautiful thing!  We just need to keep the impact of our actions in mind as we make these transactions.  This requires taking a moment to reflect on the intention - why we are borrowing and for what purpose - and making sure that the end result honors the culture, its people, and their objects in the context they were intended to be used and appreciated.  So, how do we do this - or what are some immediate, practical tips for avoiding cultural appropriation?  These, of course, are going to differ person to person, and situation to situation, but here is my advice and where I would start:

Step number one: show genuine interest in the culture as a whole.  

Intention is everything.  Consider your motivations before borrowing - is this for attention or superficial reasons (ex: "likes" on an Instagram photo or just because it looks "cool" or "exotic")?  Or is there a deeper, authentic interest in participating in another culture's traditions?

Simply being friends with someone from another culture or just enjoying the look of something different from your norm, doesn't give you permission to tokenize or appropriate.  If you truly want to partake in another culture's dress, don't cherry-pick elements or modify tradition to suit an arbitrary aesthetic, but rather be interested in and celebrate the culture as a whole.  

Step number two: do your research! 

When planning a costume, there's a lot of effort that goes into developing the character, designing the outfit, and sourcing all of the materials - and that's all before the actual making process!  So when designing a costume with cross-cultural elements, it's equally, if not more important to do your research!  This is not just a superficial google search, but really do a deep dive so you have a full understanding of the cultural and historical significance of an object or material you wish to use - as well as the appropriate context for its use.  

Make sure to give the appropriate credit too.  This includes disclosing and discussing your sources for inspiration, both the historical and the cultural.  Costumers often provide a character reference when cosplaying, or the fashion plate or extant garment that inspired their historical dress - make sure to do the same when there's cultural background required. 

Step number three: be an empathetic listener.  

Consider the sources of your research - did you directly consult with people from the culture to learn about their feelings and perspectives on the object you wish to use?  Cultural exchange is a two way street, and borrowing quickly becomes appropriation, exploitation, and oppression when the wishes of the source culture are excluded from conversation, and worse ignored or directly violated.  Have an open and honest conversation with willing participants.  And if you are the borrower, be an active listener and engaged learner, not a dismissive informer.  

Also, support native artisans and makers whenever possible.  The expression money talks applies here - for instance, instead of buying "tribal-inspired" earrings from just anyone, amplify the voices of Native American and indigenous peoples by recognizing their unique, cultural identities and purchasing directly from a Navajo artist.  The result is two-fold - you're supporting a rich, crafting tradition that's been exploited by the "fashion" industry, and you're connecting with a culture, rather than a faceless corporation making a profit off of mass-produced rip-offs.  

Step number four: make conscious and intentional decisions. 

You've done your research, you've consulted with people from the culture, and now it's time to apply your findings.  Be deliberate in your choices, think about the message your costume is sending - are you honoring a culture or simply imitating it?  

Obviously, avoid perpetuating the stereotypes of a culture.  Make sure, again, you are borrowing for the right reasons.  None of which should be to make money or just for a "cool" photo to post online - but as an opportunity to learn about, interact with, and ultimately experience another culture.  

Step number five: err on the side of caution.  

There is a thin line between appreciation and appropriation, but sometimes there's grey area or matters that will differ within personal or cultural interpretations.  We have to be comfortable with the uncomfortable, and realize that there may not be a definitive answer.  Above all, use your common sense.  If you're question whether something is more appropriative than appreciative, it's best to err on the side of caution.  And if your gut feeling is ever "no," just don't do it! 

Step number six: be willing to acknowledge & learn from mistakes.

All actions have consequences, for better or for worse.  The boundaries of culture are neither definite, nor static, rather they are fluid, dynamic, and constantly being redefined.  Even when acting with the best of intentions, appropriation still happens - and the harm is real.  We will all make mistakes, and it's important to give yourself permission to be human and a little grace. 

The best response is a sincere apology.  Acknowledge what went wrong, and don't continue to insist that you were appreciating if you've been told you're actually appropriating.  Perhaps review steps one through three of this guide - and, most importantly, learn from the mistake so it doesn't happen again.  

And with that, I think I’ll open it up to any questions and further discussion!  How do you practice cultural appreciation, and what steps do you take to avoid appropriation in your own costuming?  Which of the steps in this guide stood out to you most, and what advice would you add?  

Let me know in the comments below - thanks for reading, and special thanks to our patrons who make content like this possible! 

18 Reasons Why Blogging Is Important

Having just celebrated my 5th-year blogiversary, it seemed only fitting to write on the top 18 reasons why blogging is important.  Write often, read many, and support all of the historical sewing and costume bloggers out there!  

Where have all the bloggers gone?  Sharing the trials and triumphs from the sewing room, and blogging in general, seems to have fallen out of popularity, especially among a once prolific, historical sewing community.  Whether it has been a lack of time with increasingly busy lives, decreased interest, or migration to the more active, social media platforms (like Facebook and Instagram), the lack of updates has left a void.  More and more costume blogs have gone silent over the past, several years, and this alarming trend shows no signs of stopping, much to the disappointment of dedicated readers everywhere.

Even I struggle to maintain an online presence, as months and months can go by without any updates.  (I've been more consistent on our Facebook Page, I promise!)  So in this post, I hope to not only remind myself, but to provide encouragement to fellow bloggers and to those just getting into the hobby that why we write is just as important as what we write!

18 Reasons Why Blogging Is Important

1 - To Be Inspired

Feeling unmotivated or having a bad day?  Blogs inspire, from entertaining stories to pretty, pretty pictures of the latest, greatest creation, an update from your favorite online author may just be the ticket to lightening the mood and sending you back into the sewing room!  Discovering and following content creators can strengthen existing passions, or even spark new interests that you never knew were within you.

In fact, I credit the years of following costume-related blogs - from the Couture Courtesan, to American Duchess, Beauty from Ashes, the Fashionable Past, Festive Attyre, among dozens of others (see my list of favorites and blog links on the sidebar) - for finding and developing my passion for historical fashion.  Laugh, but it was the highlight of my high school days to come home and to see which bloggers posted, eagerly awaiting the reveal of new projects and dreaming of the day that I'd be able to create my own.  Who knew all these years later that I'd be celebrating five years on a blog of my own, and pursuing a career in clothing reproduction and living history?!

2 - To Inspire Others 

Much like the first reason of being inspired, blogging allows you to inspire others.  By sharing your interest and talents online, you may just ignite the same passion or hobby in another, like the costume bloggers did for me.  So share those sewing tips and tricks, favorite museum or movie costumes, photos from past events, and new research - you never know who's reading and being inspired by what you're posting!

Cheyney of Not Your Momma's History is an icon -
strong, stylish and second-to-none when it comes to advocating
for a more accurate and inclusive future in living history! 

3 - To Educate

Embrace the D.Y.I. (or Do It Yourself) culture!  In the age of "how-to" guides, one can learn just about anything online.  If you're a blogger, you're also an educator!  Whether you explicitly set out to write a step-by-step tutorial, or are just sharing a pictures from a recent project, your post has the potential to teach someone something new.

As a mostly self-taught seamstress, reading costume blogs was instrumental to my learning process.  In following the trials and errors of difficult sewing projects, viewing interiors and in-progress shots, I often felt as though I was sewing along with the bloggers as they wrote.  So, please, post your sewing successes (and the fails!), and let us amateurs learn along with you!

4 - To Meet Like-Minded People 

Ever wonder if you're the only one who does this, or likes that?  Blogging offers the perfect way to meet and instantly connect with entire online communities of hobbyists from all around the globe.  Never fear, there are definitely people who love and actively DO just that, and all it takes is posting a picture or a few words to unlock a world of excitement and encouragement. 

5 - To Form Lasting Friendships

At the top of the benefits to be gained from blogging is the unique ability to form lasting friendships both online and in-person with fellow bloggers, readers, and hobby enthusiasts.  Through online interactions, be it in comments, direct messages and other exchanges, discussing shared interests, sewing frustrations, or even the public events you attend, may lead to more than just a passing "like" on a picture or post.

In fact, having met many of the costume bloggers and instagramers that I follow in-person (cue ALL the awkward fangirling on my part), I'd like to think that I've formed quite a bond with some of them!  A few of us, despite living states apart, even make somewhat regular plans for sewing get-togethers, or at least look forward to catching up at conferences and living history events.

6 - To Strengthen Existing Relationships

After connecting with all of these like-minded people, use blogging to keep up with everyone's current sewing projects!  While it's truly wonderful to meet new people, blogging can also help strengthen existing relationships.  Had a great time at an event with your best friends or family?  Blog about it - share the silly pictures and the funny stories - and months or years later, you may all look back on that post and relive the fond memories and laughs.

7 - To Make Memories

A blog is the ultimate scrapbook, travel journal, project tracker, event planner, "to make" and "to do" list all rolled into one, chronological and digital record.  You'll never forget (even if you wanted to) those early, somewhat embarrassing sewing projects, but the visual timeline from way back in the dark ages of your costuming past to the present offers a priceless, fully documented journey to follow - oh the memories, people, places! 

8 - To Become a Better Writer

Practice makes perfect.  The daily (or more like monthly if you're me) practice of blogging offers an excellent opportunity to hone your writing skills, and, unlike in school, there are no impending deadlines or grades attached! 

9 - To Become a Better Thinker

Award-winning historian and author, David McCullough says that "writing is thinking.  To write well is to think clearly.  That's why it's so hard."  Reading, writing, and thinking are integral tasks, each one improving the other.  In the careful planning and organizing of thoughts and ideas, keeping a blog provides clarity, making us better critical thinkers, observers and problem solvers.

10 - To Exercise Creativity

From photo editing, to picking out the font, text and color schemes, not to mention composing the wording of each post and picture caption, blogging is an art, and each post a masterpiece.  Call it a blog or a visual portfolio, the more you write and share, the quicker the project ideas seem to appear...Eureka!

11 - To Decrease Stress

Just write, or rather type it out!  Treat a blog as an electronic journal or diary, releasing all of those pent up thoughts and jumbled ideas from the mind, and recording them safely online.  Big costuming event coming up, or a misbehaving sewing project driving you nuts?  Get that "to sew" list organized, while bonding with others also in the throws of crazy, last minute sewing.  Talk out those cutting, fitting or other costume construction road blocks, someone usually responds with just the right solution!

Don't fight it out, when you can write it out!

12 - To Increase Productivity

Write it down, make it happen.  Sticking to a blog posting schedule requires lots of self-discipline...set goals, share progress, and your audience will keep you motivated and accountable.

13 - To Boost Self-Confidence

Blogging builds self-confidence, character and resiliency.  It takes gumption to want to be a blogger, as both your words and your image become fully and freely accessible online.

Personally, it's not always easy knowing that readers' reactions are out of my hands, especially as no one wishes to appear foolish or unattractive in their pictures.  However, that's what makes positive interactions all the more meaningful.  There's an undeniable excitement that comes with a notification of a new follower, "like" to picture, or comment on a post - a little "thumbs up" and encouragement goes a long way!  

14 - To Make Yourself More Marketable

Your blog is your brand.  From navigating social media algorithms, to following the latest marketing techniques, keeping a consistent publishing schedule, writing interesting and engaging content, and interacting with diverse, online audiences, being a blogger allows you to practice and then master relevant, marketable, and ultimately employable skills.

15 - It's Easy!

You don't need to be a technological expert, computer programmer, or possess magical powers to begin a blog.  Try one of the dozens of user-friendly publishing services like Blogger or Wordpress (I've used both), or social media platforms like Facebook pages, Instagram, and Tumblr.

16 - It's Free!

Need I say more?  Blogging is free!  Sure, some will pay for upgraded or professional services, and others even generate revenue from running advertisements and creating small businesses - but a basic and simple, yet functional and endlessly customizable platform requires only your time and intellectual investment.

17 - Your Space, Your Rules

On your blog, there are no limits, no glass ceilings, no rules for what you can or cannot do.  From recipes to fashion, home decor and more, here in your corner of cyberspace, you can write about anything you choose.  Find your voice, be yourself, and share what makes you happy!

Sticking their ox tongue cookies out!

18 - Ultimate Satisfaction

From the feeling of fulfillment after hitting "publish" on your latest post, to receiving encouragement and support for your interests from a community of followers, blogging offers the ultimate satisfaction.  Seeking happiness?  Start your blog today!

Are you a blogger or been wanting to begin one for a while?  Why is blogging important to you?  Which reason from the 18 above resonated with you, and what might we have missed?  Let us know in the comments below! 

Do This, Not That: A Visitor's Guide to Museum Etiquette

So, you’ve decided to visit a living history museum for the first time – now what?  What do you say, how do you act?  Do you ask that question and interact, or simply stand back and observe?  Never fear, we’ve got you covered!  Allow us to be your guides to museum etiquette:

School's out and summer's in, which, for many, means planning the perfect summer vacation!  Visiting local museums are often (or should be!) at the top of those "bucket lists."  As the third installment in a continuing, collaborative series of historical interpretation how-tos, this guide to museum etiquette is intended to answer common questions that visitors may have when attending a living history museum for the first, or hundredth, time.  It is also relevant to historical interpreters, providing both insight and ideas for improving customer service and visitor interactions.

Defining the “Living History” Museum 

Before delving into the do's and don'ts of visiting, let's define the living history museum.  When I tell people I work at museum, sometimes the reaction is along the lines of "oh, that's nice" followed with an "I'm not really that much of a museum person..."  Too often I fear people are turned off by the word "museum," picturing silent room after room of artifacts behind glass cases with security guards and alarms at the ready when people get too close.  While many certainly enjoy the more traditional gallery style museums, myself included, living history museums are so much more than collections of antiques behind glass cases.

Living history or open air museums are like no other sites, offering a dynamic and fully immersive way to experience history.  Visitors literally step into the past, walking through historic villages and structures and interacting with costumed interpreters.  All five senses are engaged from seeing the sites, to hearing the stories, smelling and sometimes even tasting the historic receipts or recipes - it's truly as close to time travel as we can get!

Consulting a more official source, the Association for Living History, Farm and Agricultural Museums (ALHFAM), defines the "living history" museum as:

"[A] site that incorporates historic objects, accurate environments and appropriate recreations [that] make the stories about the people who used those objects more multi-dimensional and effective.  In the effort to 'contextualize' their history, some sites try to recreate a particular time and place in the past, ignoring the intrusions of the present...[other] living history sites...bring history to life...in living animals and plants, in staff performing historic work or trades, and in the effort made to provide an environment rich in artifacts that focus attention on life in past times." - Excerpt from the ALHFAM webpage: "Living History Resources" 

While living history museums continue to challenge what was once associated with mostly static museum displays, there are still necessary barriers to respect and rules to follow.  "Don't touch" has become "please touch" in many cases with increasingly interactive, hands-on experiences.  However, in striving to provide an equally accurate experience, there are still priceless antiques and other hands-off exhibits.  With all of the excitement and lack of glass cases, sometimes museum manners slip our minds...So, with the living history museum now defined, let's discuss the best ways for both guests and interpreters, alike, to make the most of a museum visit!

The DO's of Museum Visits

Please note that the following guidelines are by no means all-inclusive, and that it is always best to refer to the official onsite policies of an institution. 


DO dress for the weather

When visiting living history or open air museums, as the name suggests, be prepared to spend some time in the great outdoors!  This means wearing comfortable clothing and appropriate footwear for walking.  Don't forget the sunscreen or umbrellas, or even winter coats and hats, depending on the time of year and daily forecasts.

DO dress for the weather
DON'T choose fashion over footwear for walking!

DO respect the interpreters, and expect respect in return

For visitors, this includes listening and, even better, engaging in conversation with the historical interpreters.  Don't overlook the power of just a simple "hello" or "thank you" to brighten someone's day!

DO actively listen & join in conversation

DON'T ignore attempts at engagement

For historical interpreters, this includes everything from greeting the visitors at the door, to sharing relevant, exciting information, and actively listening and responding to the guest's interests and needs.  Our job is equal parts education as it is customer service.

DO greet visitors at the door

DON'T be caught unaware!

DO ask any and all of your questions! 

Please, share your story and ask your questions, no matter how simple or silly, deep or profound - don't be shy!  We live these interesting discussions as repeating the same spiel to hundreds in a day can become tiring.  Challenge us to become better historians by asking that question, and we will do our best to provide an accurate, informative answer.

DO ask any and all of your questions!

DO ask before touching when the signs are unclear

Hands on or hands off?  At many living history sites, the majority of exhibits are not protected behind glass.  There won't be alarms that screech if someone gets too close, and, for the safety and preservation of the artifacts, it is always best to err on the side of caution.  Please assume that an exhibit is hands off, unless clearly indicated by signage or invited to touch by staff.  It never hurts to check with the interpreter, who will be more than happy to give the go-ahead when allowed.

DO look for signs saying "please touch!"

DO look for hands on activities!

DON'T handle hand off artifacts!

Failure to obey museum policies threatens
the safety and preservation of its artifacts

DO be mindful of personal items not part of the exhibit

In some places, there may be food items, clothing or other historical, personal effects that appear to be part of the display, when they are actually part of the interpreter's impression.  For instance, covered baskets may function as purses, concealing modern items or even that day's lunch.  Even things like bonnets or hats which can be costly investments, though tempting to try on, are best left to the owner's to handle, alone. Just as it would be inappropriate (and downright odd!) for us to rifle through your purse, eat your food, or try on your clothing, please, again, be mindful of personal items not part of the exhibit!

DO be mindful of personal items not part of the exhibit!
DON'T try on hats or go through covered baskets without permission

DO respect any ropes, barriers and closed doors

Ropes, barriers and closed doors solely exist for your safety and the safety of the artifacts in the exhibits.  Though it may be tempting to reach over the barriers for a better look at an object, see what's beyond the ropes, go upstairs or look behind a closed door, please refrain from tampering with these safety measures.  Try asking the interpreter your questions instead!

DO respect any "private" or staff only signs

DON'T open closed doors, especially those marked off limits

DON'T cross the ropes or take down exhibit barriers 

DO follow the food and drink policies in buildings

Many sites restrict food and open beverages within their historic buildings.  While sometimes inconvenient, enforcing these policies protect the buildings and their artifacts from accidental spills and critters.

DO follow signs regarding food and drink inside historic buildings

DON'T bring food, candy or open drinks inside,
unless permitted by the establishment

Accidents sometimes happen...
but by restricting open food and drinks,
we can protect our historic structures!

DO restrict cellphone usage to appropriate situations

Just like in any other interaction, frequent texting or lengthy phone conversations are best kept outside.  Inappropriate cellphone usage detracts from the other visitors' experiences and impedes interpreters from doing their job, which is engaging you!

DO feel free to use cellphones whenever appropriate
DON'T allow usage to detract from another's experience!

DO follow all photography policies & be courteous with your cameras

It's always best to look up the policies for photography and video recordings before a visit.  Each institution will have their own set of rules for where and when photography, with or without flash, is allowed.  In our historic village, visitors are welcome to photograph any building and interpreter, as we have all signed photo releases.  As far as courtesy, most historical interpreters are more than happy to be photographed, as long as it doesn't interfere with another visitor's experience or disorient us with flash.

DO feel free to photograph when allowed
DON'T forget personal space! 

DO share your experience and come again! 

Did you enjoy your stay?  Share your pictures and stories with family & friends!  Living history museums thrive on your positive, personal recommendations and feedback to better the experience for all.  Consider supporting the museum with a membership to save a bundle on your next visit.

DO share your favorite memories
and visit us again, soon!

Questions & Comments? 

Are you planning to visit a living history museum this summer?  If so, which one(s)?  What's the one piece of advice you would give to a first time museum-goer, and how might a museum better respond to that concern?

Do you have a historical interpretation topic that you would like to see addressed in the future?  Let us know!  (See the full list covered, here: Historical Interpretation How Tos)

Acknowledgements 

Special thanks to Brian Nagel, Senior Director of Interpretation, Peter Wisbey, Curator of Collections, and the Genesee Country Village & Museum for permission to photograph and access to the historic village.

Special thanks to the GCV interpreters and friends, Judy Johnson, Ariana Nicodemus, and Allison & Stephen Schmidt for your generous time and contributions to the series!  I simply cannot "thank you" enough for pretending that it was summer in all of these pictures, when it was clearly not - you four are the best!

Resources 

• Museum Etiquette: Visiting Musuems 101 - A great, general guide compiled by the Oklahoma Museums Association.
• 15 Museum Etiquette Errors And How to Avoid Making Them - A web article by Mariah Tyler for Travel + Leisure with many relevant examples and advice.  
• Living History Resources - Dozens of links for all things living history by the Association for Living History, Farm and Agricultural Museums (ALHFAM)