Mickey Mouse History Review

Section I

Visiting the Past: History Museums in the United States

For years, historic preservation was a task left to society's elite. This is evidenced especially with the large turnaround Henry Ford had, transcending from an individual with large disdain for the past to someone who hoarded literally every historic artifact he could find while having antique buildings trucked in. Greenville Village, as it was known, became a "hodge-podge" of history, Ford's attempt to remind Americans what life was like before the war to end all wars. Ford rephrased his previous claim of history, now just stating that only history as taught in schools was bunk--an argument echoed by professors at this university ad nauseum. However, Ford's massive museum was clearly slanted. Omitting wars, politics, banks and lawyers, his "utopia" was chided for being anticapitalist.

Conversely, John D. Rockefeller's Colonial Williamsburg was far from the miscellaneous cluster of preservation that Ford had assembled. Indeed, Rockefeller envisioned a pristine mock up of his colonial town which was so precise, it arguably bordered on fanaticism. Where Ford appeared anti-capitalist, Rockefeller was nothing but, constructed from the top-down to reiterate notions of a corporate ideology.

A boost in historic preservation saw staunch criticisms of Rockefeller's work, most notably that is was ridiculously historically inaccurate. To counter this, initiatives were spearheaded by preservationists to make such sites as accurate as possible, even down to the flies, slaves and pig feces that blotted the colonial living space Rockefeller so poorly duplicated.

The Living Historical Farm movement grew as a result of "static" environments like that of Rockefeller's. Actors in these areas actually lived in the houses to further legitimize the colonial accuracy for which the movement strived. In the 1970s, slavery was even included using local black actors. Still, even in living history as accurate as these, notions such as politics and capitalism were as overlooked as they were when Ford built his village. Conclusively, Wallace deems using history in this way condemns it to a source of entertainment and nostalgia which insightful trivia and little else. In this manner, it could not be used as a tool to understand and change the present which, arguably, is history's purpose.

This is certainly a notable argument. With just the first chapter, what becomes apparent is the evolution of mainstream history as a hobby of the affluent to a topic of controversy of what should and should not be represented about an historic society and to what extent. Undoubtedly, any living history museum takes a risk by literally incorporating slavery into their acts. Nevertheless, this is especially important if such a museum truly wants its visitors to get a real "feel" of the era represented.

Similar affluent dominance and influence over museums is also reflected in the history of New York's exhibits. The need for diversity in the Empire State's museums was not just a matter of accurate and varied representation, however. Indeed, it also grew out of a need for a central location that allowed a struggling community torn asunder by crime to recognize its commonalities. So, giving all cultures, races and topics its place in museums was doubly crucial.

Twentieth century New York saw rampant changes in museums. Exhibits emerged representing black, Jewish and Hispanic cultures and heritage. Conversely, those who failed to get on board eventually faded into obscurity and had to close shop, such is the case with the New York Historical Society in 1993 whose community eventually turned its back on it just as it had done so to its community for so long. Thus what becomes evident is the large importance diversity has in museums in what has, for lack of a better word, become a seemingly cutthroat institution. And rightfully so. A museum fits the needs of its "customers" by providing them with accurate, assorted histories. If a museum repeatedly fails to meet expectations, especially in a late 20th century nation, it is unrealistic for it to survive.

Even Ellis Island saw controversy as it too was misrepresenting a variety of cultures and also tiptoed around provocative issues such as immigration, going so far as to cover the topic in an entirely different exhibit and having a rather one-sided approach.

So far, Wallace's approach borders on the message of caution. He brings to light some very key issues with warnings. For example, history must not become a form of entertainment. Also, it is apparent the dangers when an historical society is overly run by affluent: historical inaccuracies run amuck and other events or notions of the past are just overlooked. The NYHS especially serves as a clear example of what can happen to a museum when it fails to become contemporary and broad. Wallace also notes the incredible importance of museums as they emerged from a hobby to a cornerstone in a community. They provide a sense of commonality in an urban area or allow individuals to come and learn their or another's past. Thus, it is crucial that museums get it right as their responsibility and obligation is only growing.