Crimes of Performance

Crimes of Performance

Souls: A Critical Journal of Black Politics, Culture and Society
Volume 13, Issue 1 (2011)
Special Issue: Black Critiques of Capital: Radicalism, Resistance, and Visions of Social Justice
pages 29-45
DOI: 10.1080/10999949.2011.551476

Uri McMillan, Assistant Professor of English
University of California, Los Angeles

In this article, I focus on the intersections between discourses of crime and illegality with modes of performance in the multiple impersonations staged by William and Ellen Craft, two married fugitive slaves who escaped from chattel slavery in the United States in 1848 through a complex set of layered performances. I begin illustrating the linkages between crime and performance by tracing the workings of a dynamic I term “fugitive transvestism” in an aesthetic representation of Ellen Craft, specifically an engraving she posed for in 1851 that was later published in The London Illustrated News. In doing so, I not only reveal the engraving as a site where we can witness Craft’s embodied performances, rather than a seemingly static document, but also focus on the crimes of “being” acted by Craft that surface in the engraving itself. In addition, I further reveal the performative and criminal acts committed by Ellen Craft, by later moving to a discussion of prosthetics, focusing attention on the mechanisms of Craft’s escape costume. Prosthetic performances, as I discuss them, were dramatic and tactical strategies employed by the Crafts that continue to reveal the suturing of crime and performance in Ellen Craft’s counterfeit embodiment of her alter-ego, while taking it further into yet another set of unlawful impersonations. Thus, this essay will evince how the Craft’s multiple crimes of performance enabled their mobility across 19th-century spatial sites and representational spheres.

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