The Wyndonshire Wedding: Theatrical and Community Medievalism

In my recent blog discussing a new form of theatrical medievalism in which I have become immersed—allowing me both a creative and intellectual outlet—I centered my discussion on my creative direction and process and how my studies in medieval literature informed my directive style at two local Renaissance Faires in North Central Massachusetts which I was involved with managing, organizing and directing, Wyndonshire Renaissance Faire at the Community Park in Winchendon, MA and Enchanted Orchard Renaissance Faire at Red Apple Farm in Phillipston, MA. Wyndonshire, the first of these faires, will be the center of my discussion today as I explore the way this project engaged local performers, vendors and community members who came together to cocreate an event that revitalized the town and region. It was also a lot of fun, especially when it all came together on the final weekend in April last year.

Crimson Countess (Dawn Higgins), Wizard of Wyndonshire (Richard Fahey), and Sir Joan (Kellie Carter); Image by Richard Carter (April 28, 2024).

Wyndonshire began with an idea proposed by Parks and Recreation Member Dawn Higgins, who championed the initiative and served as RenFaire Coordinator this past year, helping coordinate costume clinics for character actors with Costume Coordinator, Ashley Rust, and vendors with then Park and Recreation Coordinator, Tiffany Newton. My wife, Rajuli Fahey, and I joined on as community members and part of the Planning Group for Winchendon’s RenFaire initiative, but came to wear many hats and serve in numerous roles, including as Creative, Theatrical and Entertainment Directors. Well before directing and academic consulting, I began with world-building a fantasy kingdom, drawing inspiration from town history, and applying my knowledge of medieval culture and lore to imbue the scripts I created as Wyndonshire Playwright. I drew also from my studies and love of medievalism in considering the audience and to both appeal to and surprise patrons. And, as mentioned in my previous blog, I modeled my approach in part on the aesthetic of wonder operative in many of my favorite works of medieval literature.

Green Queen of Wyndonshire (Tammy Dykstra); Image by Kit Catlett (April 27, 2024).

Creating the characters was a blast. I conceived of three main houses, and three primary nobles vying for power: the Blue King (James Higgins), the Green Queen (Tammy Dykstra), and the Red Baron (Dave Fournier). Rajuli created the graphic art for Wyndonshire, and she suggested noble family’s crest included a local animal as a sigil, so we chose the stag for the king, the otter for the queen and the fox for the baron. I also created a host of characters to populate the kingdom: townsfolk, rogues, pirates, vikings, knights, ministers, and additional nobility. There are also wondrous creatures from literature, myth and legend: fairies, merfolk, witches and sirens. Of course, this conglomerate of fictitious characters borrows from medieval and modern traditions, and reaches into the realm of the imaginary. Wyndonshire can only be described as a historical and literary anachronism and amalgamation. In this way, this faire is full fantasy, designed to appeal broadly to audiences interested in premodern and early modern times or their perception of those earlier historical periods. In other words, designed to meet the expectations of those who would typically attend a modern Renaissance Faire.

Wyndonshire cast: Pirate Queen (Katharine Taylor), Robber Baroness (Micayla Sullivan), Blue King (James Higgins), Crimson Countess (Dawn Higgins), Masked Bandit (Mitch Lang), Hooded Rogue (Mandalina Blake), Captain of the Kingsguard (Richard Carter), Fay Rogue (Noodle Doodle), Pirate Quartermaster (Jarod Tavares), Blue Champion (David Geary), Blue Duke (Bill Evans), Blue Duchess (Lori Evans), Kingsguard (Kellie Carter), Herald (Alex Deschenes), Red Champion (Cameron Hardy), Wizard (Richard Fahey), Enchantress (Rajuli Fahey), Sheriff of Shirewood (Jennifer MacLean), Queensguard (Nikolaus Brauer-Chagnon), Jester (Chelsey Patriss), Kingsguard (Ayden Mel), Blue Princess (Melanie “Melegie” Lemony), Baronsguard (Dan Towle), Baron’s Hand (Devon Barker), Fairy Prince (Sasha Khetarpal-Vasser), Red Baron (Dave Fournier), Red Duke (Michael Bearce), Siren (Jessa Funa); Image by Keith Fisher (April 28, 2024).

It was at this point that magic truly began happening, and it came from the local community. At our auditions, the synergy was palpable—dozens of folks came out to try and embody one of my characters or contribute their creative touch to this growing community project. There were people from different backgrounds coming together to cocreate immersive theater—some folks were part of community theater productions, others were veteran “Rennies” and even Dungeons & Dragons roleplaying groups got involved. Everyone rose up and became a creative team. One example of many was the work of Tammy Dykstra, who was cast as the Green Queen, and later stepped into the role of Music Director, taking on a group of singers, with a spectrum of training and experience. Assisted by Planning Group member, Jacque Ellis, Tammy and the Wyndonshire Singers produced a masterful “pub sing” that was engaging for both spectators and participants, and provided some ribaldry, entertainment and comic relief against a plot that was otherwise often grim and tragic.

Wyndonshire Pub Sing: Pirate Boatswain (Merill Blake), Fairy (Jodi Schoolcraft), Weird Sister (Siobhan Doherty), Pirate Quartermaster (Jarod Tavares), Green Duchess (Jen Knight), Baron’s Hand (Devon Barker), Herald (Alex Deschenes), Jester (Chelsey Patriss), Enchantress (Rajuli Fahey), Town Crier (Leanne Blake) & Shieldmaiden (Sylvia Sandridge); Image by Richard Carter (April 28, 2024).

Wyndonshire Renaissance Faire also featured a Belly Dance showcase that paid homage to the evolution of American Belly Dance and American Renaissance Faires, organized through partnership between Rajuli, Rachel Moirae of Our Dance Space, and Cheryl Kalilia of PsyBEL. The showcase featured regional dancers with a variety of styles—some improvisational, some choreographed—all performing to music with live percussion accompaniment added by spectating dancers, performers and patrons, which highlighted the collaborative and community spirit of the faire. From there, Wyndonshire spiraled outward, as performers and vendors were reaching out looking to get involved in the expanding project.

Rajuli Fahey and Nagashri Dancers (including: Lauren Conrad, Kerri Plouffe, Destiny Young, Leah Cameron, and Erin Berndt), performing at Wyndonshire Renaissance Faire; Image by Chris Young (April 27, 2024).

Numerous performance, historical reenactment, theatrical and musical groups donated services, sometimes for free and more often at discounted rates, to help get this event off the ground since initial funding was limited and in large part came from Massachusetts Cultural Council grants. Everyone pitched in to make the event possible, including  The Knights of Lord TalbotMeraki CaravanThe Phoenix Swords, The Shank PaintersThe Harlot QueensThe Warlock WondershowThe Misfits of Avalon, Dead Gods are the New Gods, The Green Sash, The Mt. Wichusett Witches, and solo performers, such as stilts walker, LaLoopna Hoops, and fire dancer, Noodle Doodle.

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Signage was of course an essential element of the faire as well, both because signs add to the atmosphere and create the physical space, and because they helpfully direct patrons where to go. Another community member, Micayla Sullivan, who also played the Robber Baroness, took the lead on this and other crucial aspect of stagecraft as our “Sign Smith” along with a handful of other character actors. All the raw wood for the signs was donated from a local lumber company, Killay Timber Company in Royalston, MA, which made the production of Wyndonshire signage possible even without a budget. Similarly, local company, French Family Foundation in Winchendon, MA, donated lumber from local hardware store, Belletetes, to create the Wyndonshire gate, which James Higgins (who played the Blue King) and Dawn Higgins constructed for the event. Furthermore, local recording studio Blu3Kat Records volunteered to support the event’s sound management, and members from the local artist collective, Eldwood Council (especially Jacob Bohlen and Tom Fahey), partnered with FaeGuild Wonders, in order to create and build second main stage, the Mirage Stage, at Wyndonshire Renaissance Faire.

Wyndonshire Gate, sign by Micayla Sullivan; Image by Richard Fahey (April 28, 2024).

As performers and vendors were signing up to be part of the Wyndonshire, characters deepened and developed alongside and in tandem with my scripting. The first act of this faire, which will run one more year (June 21-22, 2025), involves conflict between the Blue King and the Green Queen for sway over the realm of Wyndonshire, with the Red Baron biding his time and waiting for any opportunity to climb into greater power. To avoid open war, in an attempt at “peace-weaving” if you will, the Blue King offers his daughter’s hand in marriage to the Green Queen’s son, thereby uniting the realm and settling the question of authority. Of course, each noble is still plotting their opponent’s’ demise, as the game of thrones continues subversively, and breaks out at the wedding feast, resulting in usurpation and regicide.

Knight of Lord Talbot: Blue Champion (David Geary), Green Champion (Frank Walker), Master of Arms (Kieth Fisher) & Red Champion (Cameron Hardy); Image by Richard Fahey (April 28, 2024).

In order to achieve the action scene in a manner that was safe and professional, we called upon the expertise of Frank Walker (Green Champion) who embraced the role of Combat Coordinator and worked out the staged combat with his historical reenactment group, The Knights of Lord Talbot, and in particular David Geary (Blue Champion) and Cameron Hardy (Red Champion), who were also performing combat demonstrations and facilitating a tournament of champions with historical weaponry and armor earlier in the day. Needless to say, this dramatically enhanced the plot and overall theatrical delivery of the climactic scene, and highlights how it was not just the cast of character actors but also performing groups who were collaborating to produce the drama of the Wyndonshire Wedding.

Phoenix Swords perform their fire show at Wyndonshire Renaissance Faire; Image by Phoenix Swords, (April 27, 2024).

Some performing groups contained some scripted character actors that were part of the core cast. For example, the Mt. Wichusetts Witches came to Wyndonshire and set the stage for the carnage, and instrumental in twisting fate and turning the wheel of fortune. They contributed to the physical space by creating the Witches’ Den on the borders of the Faywood, where desperate Wyndonshire nobility come to make illicit pacts in service of their respective aims. The Mt. Wichusetts Witches, especially Wyndonshire’s Weird Sisters (Kate Saab, Chrissy Brady and Siobhan Doherty), who engaged in multiple immersive skits where they made magical bargains with representatives of the noble houses, culminating in a flash mob spell at the royal wedding that allowed the Green Prince (Drew Dias) to escape with the Fairy Prince (Sasha Khetarpal-Vasser) and the Blue Princess (Melanie “Melegie” Lemony) with the Siren (Jessa Funa), before smoke clears and the subsequent chaos erupts.

Weird Sisters of Wyndonshire: Trimmer (Kate Saab), Weaver (Chrissy Brady) & Spinner (Siobhan Doherty); Image by Richard Fahey (April 28, 2024).

But the regicide was not the end of the action. After the Green Queen seems to have consolidated power and claims unilateral victory, there is another surprise in store: a peasants revolt instigated by a rogue rebellion, overlooked by the Sheriff of Shirewood (Jennifer MacLean) and led by the Robber Baroness (Micayla Sullivan) with the Hooded Rogue (Mitch Lang), Masked Bandit (Mandaline Blake), the Pirate Queen (Katharine Taylor) with her Pirate Quartermaster [Jarod Tavares] and the Green Sash, led by Viking Jarl (Jason Sumrall) with his Berserker (Andrew Hamel), Shieldmaidens (Sylvia Sandridge, Sara Hulseberg, Ashley Sumrall & Gabrielle Emond) and Thanes (Gary Joiner, Daniel Berry, Jeffery Allen Evans, Matthew LeBlanc, Henry Peihong Tsai, Gavin Leo, Richard Sprusanky, Joshua Coffin, et al.).

Wizard of Wyndonshire (Richard Fahey) leads a Viking Raid on Wyndonshire Town: Shieldmaiden (Sylvia Sandridge), Green Sash Thanes (Henry Peihong Tsai, Gary Joiner & Richard Sprusanky followed by others); Image by Adam Blake (April 27, 2024).

Indeed, The Green Sash, a “live history” and historical reenactment group (organized by Jason Sumrall) built and became our Viking settlement at the RenFaire. This group not only helped build the world of Wyndonshire, but like The Knights of Lord Talbot and Mt. Wichusetts Witches, The Green Sash became an integral part of the plot and interwoven into the story, contributing numerous immersive theatrical skits throughout the event, including singing and raiding Wyndonshire Town with the Wizard, conspiring with rogues and pirates to overthrow the nobility, and ultimately aiding the people’s revolution at the conclusion of the faire.

Wyndonshire Peasant Revolt overthrowing the Green Queen (Tammy Dykstra); Image by Richard Fahey (April 27, 2024).

Another interwoven subplot at Wyndonshire involved the misadventures of the Fairy Court in the Faywood, which was primarily organized by Amy Boscho in partnership with Emilie Davis and many others. Amy is a local business owner and community member who was also part of the Planning Group for the faire, and she both directed the immersive theatrics surrounding the Fairy Court and coordinated the vendors at the Fay Marketplace in the Fairy Grove near Wyndonshire Gate. Moreover, to further develop the mythic elements near Faywood, professional mermaids, led by Tolkien scholar, Shae Rossi, adorned the shore of the nearby pond at the Winchendon Community Park.

Fairy Court in the Faywood of Wyndonshire: Amy Boscho, Jessica Mcmenamin, Sarai Sylvestri, Summer Skye, Emilie Davis, et al.; Image by Adam Blake (April 27, 2024).

By the end of the process, almost every character was cocreating at some level with the actor playing them, and in one case, one of the character actors, Jessa Funa, (who played the Siren character) even collaborated with me on an immersive subplot centered on fairy romance between herself and the Blue Princess. The sheer extent of community contributions to this event was truly incredible and has inspired me to interlace the storyline of Wyndonshire with its sister faire, so the two plots will interact and events at Wyndonshire will ultimately affect the fate of Enchanted Orchard. A project of this scope and magnitude takes a team—a village—and I am honored to be part of such a collaborative community, now FaeGuild Wonders, which was inspired to participate in a this exciting form of public medievalism.

Blue Princess (Melanie “Melegie” Lemony) & The Siren (Jessa); Image by Mitch Grosky (April 27, 2024).

Additionally, Park and Recreation Chair, Deb Bradley stepped up when the faire needed a liaison, and served as a stage manager during the event, a second representative from the Winchendon Park and Recreation Commission who played a critical role in the planning and operations of the faire. And, Red Apple Farm partnered in advertising the event and as one of the major food vendor, providing standard RenFaire snacks and specialty cider imported from the neighboring agrarian realm of Enchanted Orchard. In 2026, the plot for Wyndonshire progresses to Act 2, “The Reign of the Rogue Council” which picks up with the Green Queen in the Wyndonshire Dungeon, and the rogue leaders in power.  As we plan to run Act 1 “The Wyndonshire Wedding” again next year, if you missed out this spring, luckily there is still another chance to attend in 2025 (June 21-22nd).

Wyndonshire Crest depicting the sigils and colors of the three high nobles; Graphic Art by Rajuli Fahey (2024).

Richard Fahey
Ph.D. in English
Medieval Institute
University of Notre Dame

Creative, Entertainment & Theatrical Director
Playwright & Academic Consultant
Wyndonshire Renaissance Faire

Crafting a New Kind of Renaissance Faire: Theatrical Medievalism and the Aesthetic of Wonder

I am always looking for my next adventure, and so this past year I took a risk and wandered into new territory. Through creative partnership with my wife, Rajuli Fahey, and the many folks involved in what became FaeGuild Wonders, we together built not one but two inaugural Renaissances Faires in Massachusetts. Rajuli served as Art & Entertainment Director, and Stage Manager (and one of the Vending Coordinators at the latter faire), I served as Creative & Theatrical Director, Playwright and Academic Consultant for both Wyndonshire Renaissance Faire at the Community Park in our resident town of Winchendon, MA and Enchanted Orchard Renaissance Faire at Red Apple Farm just down the road in nearby Phillipston, MA.

Witnessing the Maypole Dance at Enchanted Orchard: Orchard Wizard (Creative & Theatrical Director, Richard Fahey), Orchard Steward (Red Apple Farm Owner, Al Rose), Orchard Stewardess (Red Apple Farm Owner, Nancy Rose); Image by Richard Carter (May 4th, 2025).

Public medievalism has long been a professional interest and personal passion of mine, and although I enjoy scholarship and traditional ways of academically engaging with medieval history, literature and culture, I am also drawn to the fantastic and wondrous, to the creative and adaptive, and it has long been a personal dream to produce full-scale Renaissance Faire that takes medieval literature and the aesthetic of wonder as its creative direction. Indeed, during my PhD studies at the University of Notre Dame, I organized a small-scale theatrical production called Grendelkin, which featured innovative and avant-garde performances related to Beowulf, which brought together musical artists, professional dancers and early medieval English scholars.

The Rogue Council of Wyndonshire: Hooded Rogue (Mandalina Blake), Pirate Queen (Katharine Taylor), Robber Baroness (Micayla Sullivan), Master of Arms (Keith Fisher), Pirate Quartermaster (Jarod Tavares), Masked Bandit (Mitch Lang); In back: Captain of the Kingsguard (Richard Carter), Blue Duchess (Lori Evans), Baronsguard (Ben Becker); Image by Adam Blake (April 27th, 2024).

The project’s scope expanded well beyond anything I might have anticipated when I signed on to be a Member of a Planning Group in our small Town of Winchendon, agreeing to create characters and produce a script, storyline and lore for Park & Recreation Member Dawn Higgins’ RenFaire initiative. Of course, there were many challenges to overcome along the way, some from the nature of startup projects and some from the circumstances surrounding organizing two distinct faires with very different models and storylines, which debuted back-to-back weekends this spring. While my blog today is in part a celebration of both events, it will center primarily on the creative inspiration and direction that shape both Renfaires and the world-building aspects that allowed me to leverage my expertise and love of medieval literature, especially that which contains monstrous and wondrous elements, in my creative process.

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Wyndonshire Fairy (Jodi Schoolcraft) & Wyndonshire Town Crier (Leanne Blake), Image by Kit Catlett (April 27th, 2024).

However, before we dive too deep into the creative process, a brief description of both faires is in order:

Wyndonshire Renaissance Faire

For this faire, Rajuli and I both volunteered our professional services in order to support our town, local community and the beautiful amphitheater at the Winchendon Community Park. As the project grew so did our roles in the production of Wyndonshire. What began as a modest endeavor bloomed into a full-blown production that welcomed and engaged the local art community. Although all of the characters are fictitious (some cocreated with the character actors themselves), I based the House names around prominent families from Winchendon (the Murdocks and Whitneys in particular), though there is no intended relationship (allegorical or otherwise) between the Wyndonshire nobles and said historical families. This year’s plotline centered around “The Wyndonshire Wedding” between the Blue Princess (played by Melony “Melegie” Lemony) and Green Prince (played by Drew Dias). The wedding is coupled with political intrigue and subterfuge, resulting in a contest for power between the Blue King (played by James Higgins), Green Queen (played by Tammy Dykstra) and Red Baron (played by Dave Fournier) and culminating in a peasant revolt featuring rogues, pirates and marauders led by the Robber Baroness (played by Micayla Sullivan), the Pirate Queen (played by Katharine Taylor) and the Viking Jarl (played by Jason Sumrall).

The Red Baron (Dave Fournier) and Blue King (James Higgins) of Wyndonshire; Image by Kit Catlett (April 27, 2024).

Enchanted Orchard Renaissance Faire

After Wyndonshire was underway, this faire was conceived in collaboration with a local farm and festival venue, Red Apple Farm, owned by Al and Nancy Rose, who were excited to cocreate an event such as this in order to advertise their growing business, provide interactive and experience-based agricultural awareness, bring tourism to the surrounding area and support both the regional economy and artist community. Enchanted Orchard Renaissance Faire features fictitious characters and storylines that are centered on sustainable farming practices and agrarian life which was the bedrock for the medieval world. The main conflict concerns a disagreement between the nobles as to whether or not to expand the orchard or preserve the forest, with the Orchard King (played by Paul Taft) and Blossom Baroness (played by Jen Knight) advocating for conservation and the May Queen (played by Tammy Dykstra) and Duke of Thorns (played by Dave Fournier) opposing and advocating for preservation, ending with an unexpected marriage proposal and announcement between the Prince of Leaves (Michael Barboza-McLean) and the Blueberry Princess (Melanie “Melegie” Lemony).

Enchanted Orchard Knights and Nobles: Prince of Leaves (Barboza-McLean), Green Knight (Quinne Richard), May Queen (Tammy Dykstra), Orchard King (Paul Taft), Blue Knight (Ayden Mel), Blueberry Princess (Melanie “Melegie” Lemony), Red Knight (Dan Towle), Duke of Thorns (Dave Fournier), Hand of the Duke (Devon Barker); Image by Kit Catlett (May 4th, 2024).

These events included performances by musical and theatrical groups such as The Knights of Lord Talbot, Meraki Caravan, The Phoenix Swords, The Shank Painters, The Harlot Queens, The Warlock Wondershow, The Misfits of Avalon, Diva Di, Dead Gods are the New Gods, The Green Sash, The Mt. Wichusett Witches, Skeleton Crew Theater, Massachusetts Historical Swordsmanship [HEMA], The Ditrani Brothers, Nagashri Dancers, PsyBEL, Our Dance Space and numerous solo performers.

Obviously, RenFaires are at their core fantasy. They do not reflect in any consistent or credible way the historical realities of the medieval or early modern period, and even those groups and projects that are purportedly more focused and committed to historical accuracy, such as the Society for Creative Anachronism [SCA] and Pennsic Wars, acknowledge the deep limitations of attempting to recreate a historical past in the present: it’s simply not possible.

Enchanted Orchard Pub Sing: Orchard King (Paul Taft), Hand of the Duke (Devon Barker), Viking Shieldmaiden (Sylvia Sandridge), Duke of Thorns (Dave Fournier), Orchard Wizard (Richard Fahey), Orchard Herald (Nikolaus Brauer-Chagnon), Pirate Queen (Katharine Taylor), Blossom Baroness (Jen Knight), Countess of the Rose (Dawn Higgins), Pirate Quartermaster (Jarod Tavares), Weird Sister (Siobhan Doherty), Wyndonshire Herald (Alex Deschenes), Blue Knight (Ayden Mel), Orchard Jester (Chelsey Patriss), Siren (Jessa Funa), Prince of Leaves (Michael Barboza-McLean), Orchard Enchantress (Rajuli Fahey), Blueberry Princess (Melanie “Melegie” Lemony); Image by Richard Carter (May 5th, 2025).

Although folk certainly do not (and cannot despite best efforts) actually travel back in time when attending a RenFaire, and many of the performance groups embed non-historical or fantastic elements, the desire to experience something historically adjacent, something medievalish, to invoke modern perceptions (and at times misconceptions) of premodern times, and to be immersed in a world of medievalism, has bloomed in recent years and will likely continue to grow. As a medievalist interested in the intersection between medieval studies and medievalism, my goal in cocreating and directing these RenFaires was never to recreate the historical past or attempt to conjure the authentic premodern world, but rather to evoke the experience and aesthetic of wonder that imbues so many of the works of medieval literature I love most and which dramatize the monstrous, the magical, the mysterious, miraculous and the uncanny. I asked myself and the Muses two essential questions: 1.) what would it be like to walk into a work of medieval literature? And, 2.) what would it be like to walk into a medievalesque fantasy world?

Princes of Wyndonshire: the Satyr Prince (Sasha Khetarpal-Vasser) and the Green Prince (Drew Dias); Image by Mitch Grosky (April 27th, 2024).

I knew I wanted the experience to be highly immersive. I wanted folks attending to feel part of something—to have almost crossed into a fairyworld or an uncanny realm. I wanted the experience to be overwhelming, with too much to possibly see or do. I wanted to create the illusion of entering a world that is alive with everything from town gossip to its own historiography and mythography. Most of all, I wanted the patrons to experience the wonder that is embedded throughout medieval literature and that makes medievalism such a joy to modern audiences. I decided to include both stage performances and many immersive skits, as well as multiple interlacing subplots that come together at various points throughout the events.

Wyndonshire Rogues and the Green Sash Marauders: Masked Bandit (Mitch Lang), Robber Baroness (Micayla Sullivan), Pirate Quartermaster (Jarod Tavares), Viking Jarl (Jason Sumrall), Viking Warrior (Jeffery Allen Evans), Viking Berserker (Andrew Hamel) & Wyndonshire patrons; Image by Richard Fahey (April 28th, 2024).

In the end, both faires were a wicked good time and proved to be huge successes—for the town and for the farm—and from these experiences a community formed into a sort of immersive theater company, FaeGuild Wonders. Because of our unique approach to these Renaissance Faires, the immersive and theatrical dramatizations in particular, and the inclusive spirit of community present at these events, we received some local press leading up to and after their debuts. But the best part of the entire process for me, personally, was not even seeing my vision come to life—it was the community building and getting to collaborate with my friends and family.

Captain of the Kingsguard (Richard Carter), Wizard of Wyndonshire (Richard Fahey), Kingsguard (Kellie Carter); in back: Blue King (James Higgins); Image by patron for Richard Carter (April 27th, 2024).

I could talk about each event in detail, exploring the ways I engage the medieval aesthetic of wonder as well as the modern imaginary, but those will likely be the substance of future blogs on Wyndonshire and Enchanted Orchard. Most exciting of all for me to share is a brand-new event that Rajuli and I are planning and directing this winter, again in collaboration with the Red Apple Farm team led by the Roses (because they were such awesome partners): the Northfolk Nightmarket on February 22nd and 23rd 2025. This will offer me the incredible opportunity to dramatize the story of Beowulf, the subject of my dissertation and the majority of my scholarship, and interweave the story into an inaugural event which will draw inspiration directly from medieval lore, literature, myth and legend. Perhaps we’ll see you there?

Richard Fahey, PhD in English
Medieval Institute
University of Notre Dame

Reconsidering Relationships to the Past: Medieval Studies and Public Humanities

In recent years, medieval studies has been at the center of major conversations about accessibility, inclusion, and the broader future of a humanistic education. Sierra Lomuto writes that medieval studies is “undergoing a disciplinary crisis” and is “a battleground: it is either a last priority because its inaccessibility masks its relevance to pressing concerns of the present, or it becomes a priority because it symbolizes tradition for those who want to hold onto Eurocentric narratives about the past”[1]. Medieval studies needs to change if it wishes to continue. The status quo cannot hold. Scholars and institutions have begun taking steps to address major, structural aspects of the field that have long made it exclusionary and impenetrable to people. Not only is this important for the future viability of the field, but it is also crucial for reaching those outside of academia. There is such great potential for scholars to make positive impacts on everyday people and their ideas about – as well as encounters with – the Middle Ages. Crises, though scary, can be major catalysts for change. Indeed, the field and its relationships to those around and outside the academic world are changing. 

As the Medieval Institute’s Public Humanities Postdoctoral Fellow for the 2023-2025 academic years, I am in a unique position to observe these changes and think about how to make meaningful connections between the Middle Ages and the broader public. In other words, these changes excite me because they present so many incredible opportunities to open up medieval studies to people. As a scholar whose research engages with questions of identity, community, and belonging, it is such an honor that I get to consider how medieval studies can enrich our local communities. My work at the Medieval Institute involves planning and implementing programming that reaches a wide audience. I want to change people’s relationships to the Middle Ages for the better. I am committed to answering some major questions: why should people care about the Middle Ages? How do we get people to care about the Middle Ages? 

Getting people to care about the Middle Ages is no easy task. It is important for medievalists to understand how daunting the field can be for those in and outside of academia – medieval studies can be quite an inaccessible field. The Middle Ages encompass an incredibly large swath of time and geographical spaces. Preconceived notions about the Middle Ages being dull still exist. For some people, the field’s long history of Eurocentrism can be a turnoff. Others may have caught wind of the field’s exciting interdisciplinarity but may not know where to start exploring all the material out there. Furthermore, language barriers present challenges. There are so many unfortunate hurdles, and as scholars we should strive to remove as many as we can so that people can appreciate the importance of the field.

The Middle Ages matter because – the way I see it – they belong to everyone. It is a vibrant, rich past that everyone can benefit from exploring. It is a time of encounter and of exchange. Networks of people from all over the world are being constructed and deconstructed throughout the Middle Ages. Knowledge and ideas are spreading through these networks of exchange. Scholars have only begun to scratch the surface of this vast interconnectedness and how their legacies bring to bear on our contemporary, globalized world. Indeed, we can learn so much about the present and future through deep engagement with our past.

The field must change so that scholarly work can be easily shared among researchers, allowing for innovative interdisciplinary avenues to be explored. Peer institutions have taken on major projects to address structural barriers that have unfortunately kept medieval studies separate from other academic disciplines. For example, Arizona State University’s Arizona Center for Medieval and Renaissance Studies has their ongoing RaceB4Race conference series and professional networking community, which provides a powerful platform for a variety of scholars scholars interested in race and racializing discourses in premodern contexts to come together and share their work. RaceB4Race is an initiative designed with the goal to bridge disciplinary divides so that innovative, interdisciplinary scholarship can thrive. The hope is that these connections can spark change – academic and social – within premodern studies. Notable participants include Geraldine Heng, whose 2018 monograph The Invention of Race in the European Middle Ages marked a watershed moment for medieval studies and research on race. RaceB4Race offers an incredible model for other institutions to follow: one that embraces critical race studies in premodern contexts by cultivating interdisciplinary dialogue and scholarship.

Image of students looking at books and manuscripts from the ASU RaceB4Race website [https://acmrs.asu.edu/RaceB4Race]

The University of California, Los Angeles (UCLA) – my alma mater –  embraces the global turn in medieval studies. Under the direction of Zrinka Stahuljak, there have been major structural changes, allowing for radical reimagining of what medieval and early modern studies can entail. Notably, what was long known as UCLA’s Center for Medieval and Renaissance Studies has been renamed as the CMRS Center for Early Global Studies. This reflects a major disciplinary shift as the field wrestles with periodization in a global context. By replacing the terms “medieval” and “Renaissance” with “early,” the Center’s new name asks scholars to be mindful of the field’s Eurocentrism and to move away from it. To quote the Center’s “About Page” on its website: “In order to counteract the varying periodizations across the globe, which do not fit neatly along European lines of division, the best term that accommodates the periods under the Center’s purview is ‘early.’ The term ‘early’ circumvents the problem of always centering time periods in relation to modernity and thus avoids the pitfalls of teleology, of working on the presumption of progress from the past to the present.”[2] What at first glance may seem like a minor name change is part of a larger paradigm shift for other institutions to consider following in order to expand the field in exciting ways.

To underscore this shift, the Center has made great strides in highlighting work that considers the Americas, Asia, and Africa which have been overlooked given previous Eurocentric approaches to the Middle Ages. In fact, the Center, in collaboration with UCLA’s American Indian Studies Center, recently received a $1 million grant from the Mellon Foundation to support a project called “Race in the Global Past through Native Lenses.” This grant validates the Center’s inclusive, global approach that decenters Europe and allows for two fields that rarely intersect – indigenous studies and premodern studies – to come together in a way that breaks down typical academic and disciplinary divides. This is just one example of the innovative work that can come from bridging gaps across areas in the name of better understanding of global contexts. 

This work connecting the Middle Ages to broader contexts and disciplinary approaches is not limited to academic spaces. Medievalists understand that this research has a great deal of potential, and exciting public-facing projects have been launched. For instance, the Newberry Library in Chicago currently has a thoughtfully curated exhibition called “Seeing Race Before Race” on view. The exhibit is about race from the Middle Ages to 1800 and draws primarily upon European sources and objects to trace the roots of racializing discourses. As part of Professor CJ Jones’s course “German Before Germany,” we will be taking undergraduate students from the University of Notre Dame to see the exhibit in early December before it ends. It is one thing to talk about race and the premodern context in a classroom setting or among other scholars. Experiential learning, which the Newberry Library exhibit offers, allows for students to interact with cultural productions and connect what they witness with the context they have gained from class. Yet, visitors to the Newberry Library’s exhibit should not feel like they need to have taken a college-level course to understand it. Exhibits are designed to be approachable. They are a powerful way to open up cutting-edge scholarship to those in and outside of academic spaces. Indeed, the “Seeing Race Before Race” exhibit welcomes and allows for wide audiences – not just students, researchers, and scholars – to process this information for themselves with the help of carefully written didactic materials as guides.

“Seeing Race Before Race” promotional image from Newberry Library’s website

The Medieval Institute at the University of Notre Dame takes public engagement and outreach a step further by tapping into the local community, thereby decentering academia as a space for encountering medieval studies. My position at the Medieval Institute allows me to be involved in events like our football tailgates, which has us interacting with hundreds of people. These crowds arrive on campus eager to cheer on the Fighting Irish and are pleasantly surprised to learn that the Medieval Institute exists. Over some food, drink, and medieval-themed entertainment, my colleagues and I have had the pleasure of talking to people from all over about the work we do at the Medieval Institute. Some people are regulars who say they look forward to our tailgates year after year since we started them in 2018. Others are first-timers, and their encounter with us at the tailgate is when they learn that we exist. I enjoy the awe in people’s voices and eyes as their curiosity about why we would host these tailgates gives way to genuine interest about our programming and work. A fond memory I have involves a brief interaction with a guest. He asked me about the geographic scope of the Middle Ages. I responded that many scholars work beyond the confines of modern-day Europe and conduct research on Asia, Africa, and the Americas. The visitor was so impressed by the field’s reach and wanted to learn more. This brief experience affirmed that our presence at these tailgates is a powerful work of outreach. By being approachable, warm, and inviting, we invite people from all walks of life to pursue learning more about the Middle Ages. We show people that the Middle Ages can be accessible and fun!

Image of Medieval Institute at Notre Dame’s Tailgating Community Outreach

A major innovation that the Medieval Institute has implemented is a course at John Adams High School called “Why the Middle Ages Matter.” This elective course is the exciting result of collaborating with John Adams High School and the South Bend Community School Corporation, allowing enrolled students to get a taste of what it is like to learn from the array of experts who work at the University of Notre Dame. This upcoming spring will mark the course’s third iteration and the first time that I will be leading the course. My inimitable predecessor as the Public Humanities Postdoctoral Fellow, Annie Killian, led the course for its first two years, thereby paving the way for me and future Fellows to introduce curious, excited students to the Middle Ages and the wealth of resources that Notre Dame has to offer. 

As I finalize the syllabus for the course, I cannot help but wonder about my future students. What assumptions about the Middle Ages will they bring with them to the course? What have their previous encounters with the topic been like? With this being the third time the course happens, what have students shared with their peers about it? I find myself sensitive to the powerful potential of this course. Students will learn about a more global, interconnected Middle Ages, thereby benefiting from the generative global turn in medieval studies. They get to do this with an incredible amount of support. There is the mighty institutional support that comes from the University of Notre Dame. Students will be led on special tours of the university’s Rare Books & Special Collections as well as the soon-to-be-open Raclin Murphy Museum. Guest lectures led by world-renowned scholars will whet their appetite for learning and introduce them to what humanistic research looks like. I am in awe of this course, which breaks down academic and structural barriers so that public school students can access and benefit from a world class institution that lies in their backyard. We are doing so much to empower the students at John Adams High School not only to embrace learning about the past but also to see themselves as welcome to academic spaces. This is a powerful way for us to demonstrate a commitment to making humanistic inquiry accessible to a diverse audience.

It is no surprise that someone whose current position as a public humanist would embrace these efforts that the field and various institutions are undertaking to make major changes to medieval studies. I am so buoyed by what is happening in the field. The crisis that Sierra Lomuto identified cannot hold – indeed, something has to give. What is emerging from this reckoning is an opening up of medieval studies to generative research directions as well as to broader audiences. This work reminds me of the reality of the humanities: it is of the people and for the people. As medievalists, the future of our field depends on us embracing change as well as remembering that our work does not exist in a vacuum. Rather, our work has major consequences for how people can come to understand the world: past, present, and future.

Anne Le, Ph.D.
Public Humanities Postdoctoral Fellow
Medieval Institute
University of Notre Dame

Footnotes:

[1] Lomuto, “Belle da Costa Greene,” 1-2.

[2] “About,” UCLA CMRS Center for Early Global Studies, https://cmrs.ucla.edu/about/.

Works Cited:

Lomuto, Sierra. “Belle da Costa Greene and the Undoing of ‘Medieval’ Studies.” boundary 2 50, no. 3 (August 2023): 1-30.

UCLA CMRS Center for Early Global Studies. “About.” https://cmrs.ucla.edu/about/.

Further Reading and More Information:

Medieval Institute at the University of Notre Dame. “Community Engagement.” https://medieval.nd.edu/community-engagement/.

Smulyan, Susan. “Why Public Humanities?” Daedalus, the Journal of the American Academy of Arts & Sciences 151, no. 3 (Summer 2022): 124-137.

 Stanford Humanities Center. “Interview with Zrinka Stahuljak.” https://shc.stanford.edu/arcade/interventions/interview-zrinka-stahuljak.