! – Lemon’s encounters with the historical sites shows his attempts, not to commemorate history, but rather to experience the sites as they would have been encountered in the context of the event or tragedy. This emphasis on ” historical experience” rather than memorialization. This takes me back to the memorials and museums we saw in Montgomery. It makes me wonder whether I gathered the full meaning of the locations. Did I as a viewer take enough responsibility in the moment based on Lemon’s observations.
“Ralph Lemon upends complacent assumptions that the past is a resource to be mined for determinate meaning. His work opens up a field of counter-memory in which what was supposed to be “historical experience” is in fact still taking place” Birns pg. 22
? – How would Lemon have interacted with the EJI Memorial we went to in Montgomery? This cite memorialized lynching deaths from across the country rather than one specific story or place, so would his response to the site have differed from ours?
“On November 26, 2001, the site may be an unremarkable spot under cloudy skies, buttracing the history of the place testifies to memories of a very different era.” Birns 20
“performance becomes itself through messy and eruptive reappearance, challenging, via the performative trace, any neat antinomy between appearance and disappearance, or presence and absence-the ritual repetitions that mark perform-ance as simultaneously indiscreet, non-original, relentlessly citational, and remaining.” Schneider pg. 103
!- “Messy Reappearances” of previous performances provide an opportunity to straddle the line between appearance and disappearance. These varying interpretations allow performance to remain, while they are often incomplete and varied, the archive itself is similar to this. I found this interesting because it helped me clarify Schneider’s main point of her essay. Additionally, it presented a largely different opinion of the finite quality of performance.
? – In the previous quote Schneider says, ” performance becomes it self through messy and eruptive reappearance”, Schneider pg. 103. How would Schneider classify performances that have been forgotten or performed only one time in history?