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January 2009
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We too enjoy these theatrical performances. But we feel that costumed interpretation as it is practiced here misleads the public about what life at the site was like. Research suggests that the skirmishes between attackers and defenders were brief episodes at a site that for most of its history was an untroubled settlement. Are we right to view this as an issue in the ethics of interpretation and to raise our concerns with the site manager?
Despite disdain from some academics, the best costumed interpreters present well-researched, engaging, accurate historical representation. But some costumed interpretation perpetuates untruths. A majority of re-enactment societies may have members who are skilled entertainers, scholars and educators. Others will provide undoubted entertainment but have unacceptably low standards of training in interpretation, historical knowledge and accuracy in costume. Shop around. Give those you employ a clear brief based on sound history and educational practice. You may wish to consider using a professional costumed interpretation company with innovative repertoires, which may include getting visitors to don costumes and become participants as well as spectators. While both are crucial, you must distinguish between marketing and interpretation of the site. Promoting a successful income stream is not an end in itself but a means of supporting your educational work. Remember too the need to provide variety and to innovate. Your ethical imperative to interpret faithfully is not incompatible with your commercial imperatives. The case for costumed interpretation is based not only on its income generating potential but also on the argument that engaging interpretation has to be people-based. Costumed interpretation is used increasingly at archaeological and historic sites. But such sites must not become dependent on it. It is commercially, educationally and ethically unsound to rely too heavily on any one form of interpretation. The popularity of, and rationale for, live actors "bringing the dead back to life" in uninhabited ruins may not stand the test of time. The tastes of audiences may change and the nature and extent of what people actually learn from costumed interpretation has yet to be adequately researched. Be aware that in your interpretive techniques you may be reflecting the fashions of our time rather than the realities of the lives of our ancestors. You need to develop a variety of income streams, just as you should provide for the variety of preferred learning styles of your visitors. This could include print and audio-visual presentations, story telling and staged performances. Why not develop a programme of workshops where visitors learn by doing? If the lives of the inhabitants at your site revolved mainly around artisanal or domestic activities you could demonstrate and have visitors do some cooking or make pottery using techniques of the time and place being interpreted. Foster variety in your costumed interpretation events just as you would in your exhibitions programme. Variety is better both from the point of view of reflecting the historical record of different periods at a multi-period site and encouraging repeat visits and therefore increased secondary spend at the cafe and shop. With the right script and good actors it should be possible to stage events that recreate quiet but compelling scenes of domestic life.
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