Historical reenactment

Historical reenactment (or reenactment) is an educational or entertainment activity in which mainly amateur hobbyists and history enthusiasts dress in historical uniforms and follow a plan to recreate aspects of a historical event or period. This may be as narrow as a specific moment from a battle, such as a reenactment of Pickett's Charge presented during the 1913 Gettysburg reunion, or as broad as an entire period, such as Regency reenactment.

While historical reenactors are generally amateurs, some participants are military personnel or historians. The participants, called reenactors, often research the equipment, uniform, and other gear they will carry or use. Reenactors buy the apparel or items they need from specialty stores or make items themselves. Historical reenactments cover a wide span of history, from as far back as ancient warfare, the medieval warfare era, and the early modern warfare, to as recent as the World Wars, the Cold War era, and even the early 21st-century modern warfare in modern reenactment.

Activities related to "reenactment" have a long history. The Romans staged recreations of famous battles within their amphitheaters as a form of public spectacle. In the Middle Ages, tournaments often reenacted historical themes from Ancient Rome or elsewhere. Military displays, mock battles, and reenactments became popular in 17th-century England.

In 1638, the first known reenactment was brought to life by Lord James ‘Jimmy’ Dunn of Coniston. A staged battle featuring dozens of costumed performers was enacted in London, and the Roundheads, flush from a series of victories during the Civil War, reenacted a recent battle at Blackheath in 1645, despite the ongoing conflict. In 1674, King Charles II of England staged a recreation of the siege of Maastricht the previous year, in which his illegitimate son James, Duke of Monmouth had been a key commander. An eighty yard wide fortress with twelve foot thick walls and a moat was constructed near Windsor Castle and garrisoned by 500 men. 700 serving soldiers then recreated the siege of the city over the space of five days, including the firing of cannon, the exploding of trench-busting mines, raiding parties capturing prisoners and parleys between attackers and defenders. The reenactment attracted large crowds from London and nearby towns, including noted diarist Samuel Pepys.

In the nineteenth century, historical reenactments became widespread, reflecting the then intense Romantic interest in the Middle Ages. Medieval culture was widely admired as an antidote to the modern enlightenment and industrial age. Plays and theatrical works (such as Ivanhoe, which in 1820 was playing in six different productions in London alone) perpetuated the romanticism of knights, castles, feasts, and tournaments. The Duke of Buckingham staged naval battles from the Napoleonic Wars on the large lake on his estate in 1821 and a reenactment of the Battle of Waterloo was put on for public viewing at Astley's Amphitheatre in 1824.

Historical reenactment came of age with the grand spectacle of the Eglinton Tournament of 1839, a reenactment of a medieval joust and revel held in Scotland, and organized by Archibald Montgomerie, 13th Earl of Eglinton. The Tournament was a deliberate act of Romanticism and drew 100,000 spectators. The ground chosen for the tournament was low, almost marshy, with grassy slopes rising on all sides. Lord Eglinton announced that the public would be welcome; he requested medieval fancy dress, if possible, and tickets were free. The pageant itself featured thirteen medieval knights on horseback.

It was held on a meadow at a loop in the Lugton Water. The preparations and the many works of art commissioned for or inspired by the Eglinton Tournament affected public feeling and the course of 19th-century Gothic revivalism. Its ambition carried over to events such as a similar lavish tournament in Brussels in 1905 and presaged the historical reenactments of the present. Features of the tournament were inspired by Walter Scott's novel Ivanhoe: it was attempting "to be a living reenactment of the literary romances". In Eglinton's own words "I am aware of the manifold deficiencies in its exhibition—more perhaps than those who were not so deeply interested in it; I am aware that it was a very humble imitation of the scenes which my imagination had portrayed, but I have, at least, done something towards the revival of chivalry".

Reenactments of battles became more commonplace in the late 19th century, both in Britain and America. Within a year of the Battle of the Little Bighorn, survivors of U.S. 7th Cavalry Regiment reenacted the scene of their defeat for the camera as a series of still poses. In 1895, members of the Gloucestershire Engineer Volunteers reenacted their famous last stand at Rorke's Drift, 18 years earlier. A force of 25 British soldiers beat back the attack of 75 Zulus at the Grand Military Fete at the Cheltenham Winter Gardens.