So You Want to Study and Portray a Culture of Color in the SCA? Let’s Talk!

Posted On April 22, 2025

By Dame Talia bint al-Athir, OP

Kingdom of An Tir

(Anela Abdel-Rahman, PsyD)

Native Hawaiian Cultural Practitioner,

Hawaii Cultural Ambassador, Egyptologist

Board of Directors, Costumers of Color

Portraying a culture of color in the Society for Creative Anachronism (SCA)- especially one that is underrepresented- can be both deeply rewarding and uniquely challenging. It requires more than simply wearing different garb or cooking unfamiliar food. It asks us to examine our assumptions, confront historical bias, and engage in a thoughtful, evolving relationship with the past.

Whether you are reconnecting with your own cultural heritage or exploring a culture different from your own, your efforts help shape a more inclusive, accurate, and representative historical community. The pre-17th century world was never exclusively European, and our recreation of history should reflect that richness and diversity.

It is equally important to acknowledge that the SCA’s core expectation is an attempt at pre-17th century persona and material culture. For some, this may be deeply researched and meticulously constructed. For others, it may be exploratory, adaptive, or limited by access to information, materials, health, or economic barriers. An attempt can- and should- look different for each person. This is not a weakness: it’s an invitation to grow.

This guide is written to support and encourage anyone interested in exploring and portraying a culture of color, an Indigenous culture, or any other underrepresented tradition in the SCA. It offers historical research strategies, documentation tips, and ethical considerations, grounded in the belief that everyone can engage meaningfully with premodern history, regardless of starting point or background.

What matters most is that your portrayal is respectful– that you seek to understand the culture, credit your sources, and remain open to dialogue and growth. This is not about achieving perfection or passing a purity test. It’s about fostering understanding, building legacy, and creating space for historically grounded joy and representation.

Where to Start: Research or Hands-On?

One of the biggest barriers to studying and portraying a culture of color, an Indigenous culture or another underrepresented tradition is figuring out where to begin. Some newcomers feel overwhelmed by how much information is out there. Others may feel frustrated by how little seems accessible about the culture they’re drawn to. The important thing to remember is this: you do not have to do everything at once to get started. 

Choose one thing- a garment, a dish, a piece of jewelry, a story, a song- and let that be your entry point. Learn everything you can about that one item: how it was made, who used it, where it was found, and what it meant within its original context. This process mirrors what scholars call material engagement, where physical interaction with an object can lead to a deeper understanding of a culture’s worldview and systems of meaning

In the SCA, our only formal expectation is that participants make an attempt at pre-17th century life. That attempt may look different for everyone. It may be shaped by experience, access to resources, health, finances, or the current availability of research. Your best work today might look different from your best work five years from now- and that’s okay. The goal is not perfection. The goal is meaningful engagement.

Example: A reenactor interested in pre-contact Filipino culture might begin with a single woven textile sash known as a patadyong, using a combination of surviving textiles, colonial records, and oral tradition to guide their construction. Even without a full outfit, they might document its use, show how it was worn, and explain its cultural significance in a display or class. That is a strong, respectful beginning.

Don’t feel pressured to create a complete persona or competitive project all at once. One deeply researched item, interpreted with honesty and transparency, often teaches more than an entire kit built on assumptions. You don’t need to have every answer- you just need to be willing to learn and share what you find along the way.

Wherever you begin, start with care, curiosity, and integrity. That’s always enough. 

Research Challenges: Finding and Evaluating Sources

Researching a culture of color, an Indigenous culture, or another underrepresented tradition often involves navigating systemic gaps and distortions in the historical record. Much of what was written about these cultures during and after periods of colonization was filtered through outsider lenses- missionaries, colonizers, or anthropologists- many of whom misunderstood or intentionally misrepresented what they observed.

As Māori scholar Linda Tuhiwai Smith reminds us, “Imperialism frames the Indigenous experience. It is part of our story, our version of modernity.” Colonial narratives have shaped not just what information survives, but how it’s interpreted, organized, and valued.

These challenges don’t mean research is impossible. They mean it requires more care, creativity, and critical thinking. You may need to cross-reference multiple types of sources: academic texts, archaeological reports, oral histories, and even living tradition. And in many cases, you’ll need to acknowledge gaps where evidence is lost, misinterpreted, or intentionally suppressed.

Example: A person researching pre-islamic Berber culture may find limited surviving written sources from the people themselves, but could supplement this with archaeological reports from North Africa, comparative tribal histories, and oral traditions documented by Amazigh scholars. When conclusions differ, the reenactor can present both possibilities and explain the reasoning behind their interpretation.

When using sources, evaluate the author, publication date, and perspective. Earlier sources (especially from the 18th-20th centuries) may carry colonial bias. That doesn’t make them unusable- but it does mean you should use them critically. Consider how a source’s framing of a culture reflects outside influence or prejudice.

If you’re using blogs, Wikipedia, or Pinterest to start, that’s okay- but don’t stop there. Trace the citations in those posts to their original sources. Use JSTOR, HathiTrust, and Google Scholar to find peer-reviewed articles. Look for museum catalogs, digitized dissertations, or curated exhibits from academic institutions.

When your culture’s knowledge is held in oral traditions or by descendant communities, that information is valid and important. If you are a member of that community, you may be drawing on lived knowledge others don’t have access to. If you’re not, be transparent about where your knowledge comes from and be cautious not to overstep your role.

Whatever your background, skill level, or resources- document your journey honestly. If you have to extrapolate, say so. If you made your best effort with limited access, explain it. The goal is not to have all the answers. It’s to engage respectfully and to show that you’ve asked the right questions along the way. 

How to Address Judging Challenges in Arts and Sciences

Many Arts & Sciences (A&S) competitions in the SCA were originally designed with European aesthetics and documentation standards in mind. This often creates unintentional disadvantages for entries based on cultures of color, Indigenous cultures, or any tradition that relies more on oral history, lived experience, or material culture than on written texts. These challenges can be frustrating- but they are not insurmountable.

Documentation is frequently weighted heavily in A&S judging rubrics. Yet for many underrepresented cultures, surviving written records may be limited, fragmented, or distorted by colonial sources. Some traditions passed down knowledge orally or through material craft, ritual, and performance- systems that are no less valid, but often harder to prove in writing.

If you’re preparing an A&S entry, know that you are not alone in navigating this. Use your documentation to explain:

• Why your sources might be different from a typical European entry
• How your conclusions are supported by interdisciplinary research (oral history, archaeology, comparative studies, descendant scholarship)
• What interpretative choices you made and why

Example: A reenactor entering a cooking competition with a dish from the Swahili coast may rely on comparative trade records, linguistic studies of ingredient names, and descendant food traditions to reconstruct a meal. Judges unfamiliar with East African maritime history may need help understanding the cultural and historical context of the dish. Including maps, images, and a brief explanation of regional trade can help bridge the gap.

If a rubric asks for primary sources or in-period documentation, clarify how your culture preserves and transmits knowledge. Cite oral tradition or descendent interview with attribution. If you had to substitute modern materials (like using commercial cotton in place of handwoven linen), say so- and explain why. Transparency shows rigor, not weakness.

Some kingdoms are exploring rubric revisions to better support culturally diverse entries. These efforts include alternative pathways for documentation, adjustments to expectations of materials and format, and expanded training for judges. You may even help drive change just by entering and explaining your process.

Also remember: competition is optional. Sharing your work through displays, handouts, classes, or conversations at events can be just as meaningful- and may even be more effective in shifting perceptions and educating others. Public exposure builds familiarity, which often leads to greater acceptance over time.

Wherever you share your work, advocate not just for your entry, but for the systems behind it. Invite your judges or viewers into your research journey. And if they’ve never seen work like yours before, consider that your presence is helping to widen the path for others.

Ethical Portrayal: Respectfully Representing a Culture

Portraying a culture that is not your own- especially one that has been historically marginalized, colonized, or stereotyped- requires more than good intention. It takes research, reflection, and responsibility. Ethical representation means honoring the culture’s history, values, and people- not just reproducing its aesthetic.

Start by asking yourself:

• Am I portraying this culture with dignity and care?
• Have I taken time to understand the deeper meaning behind what I’m representing?
• Have I sought sources from within the culture, or at least acknowledge when I couldn’t?
• Am I open to feedback or correction if I’ve missed something?

It’s important to recognize the difference between a portrayal that is imperfect due to resource or skill limitations, and one that is disrespectful because it relies on stereotypes, misuses sacred symbols, or disregards cultural context. The SCA welcomes attempts- but we are all responsible for making those attempts thoughtfully.

Avoid cherry-picking the most “exotic” elements of a culture without understanding their uses or meaning. Don’t combine unrelated cultural aspects for convenience or flash. Most importantly, avoid sacred, spiritual, or ceremonial elements-especially those still in use by living communities- unless you have a personal connection or clear cultural guidance that gives you permission to do so.

Example: Areenactor interested in portraying Maya nobility may find references to ceremonial regalia used in religious ritual or bloodletting. Rather than reproducing those sacred items, they could choose to research elite textiles, court attire, and jewelry used in public festivals- elements that are culturally rich but less spiritually sensitive.

If you are part of the culture you’re portraying, you may bring lived experience or inherited knowledge that others do not. That’s valid- and worth protecting. If you are not part of the culture, be especially careful about honoring- not claiming- someone else’s history.

Transparency is vital. When you make educated guesses or creative interpretations, say so. Label speculative elements clearly in documentation or displays. This shows humility and integrity. It also models best practices for others who may be learning from your work.

And if someone from the culture you’re representing raises a concern, listen. You don’t have to have every answer. You just need to be willing to grow.

Respectful portrayal isn’t about being perfect- it’s about being aware, open, and accountable.

Recognizing and Avoiding Overconfidence in Research (The Dunning-Kruger Effect)

One of the more complicated challenges in historical reenactment- especially when working with underrepresented cultures- is navigating both external doubt and internal overconfidence. These two extremes often reflect what psychologists David Dunning and Justin Kruger described in their 1999 study as a cognitive bias: people with limited knowledge overestimate their competence, while those with deeper knowledge are often more aware of what they don’t know.

In practice, this can show up in two ways:

1. Others critiquing your work from a place of limited understanding

You may find yourself fielding criticism from individuals who are confident in outdated, oversimplified or generalized interpretations. They might tell you something “doesn’t look period” or “isn’t how it was done” based on visual expectations shaped by European norms or flawed popular history. This is particularly common when portraying a culture unfamiliar to most SCA participants.

Example: A reenactor portraying an ancient Egyptian artisan might be told their linen wrap “looks too modern” by someone unfamiliar with Egyptian clothing reconstruction. In fact, the reenactor may have based their design on textile fragments, tomb reliefs, and museum examples- and be more historically grounded than the person critiquing them.

When this happens, take a breath. Ask clarifying questions, share your sources, and remain calm. You don’t need to defend your work aggressively. Invite others to learn alongside you, and if the conversation is not productive, it’s okay to disengage.

2. Avoiding self-DKE (overconfidence in your own knowledge)

Especially when you become the “go-to person” in a niche field, it can be tempting to speak with authority beyond your actual research base. You may have no local peers studying your culture, and people may treat you like an expert- even if you’re still learning. That’s both a compliment and a responsibility. The best way to avoid falling into DKE yourself is to stay curious, keep reading, seek peer review, and remain honest about what you do and don’t know. Invite critique from knowledgeable sources. Ask for feedback from descendant communities or outside experts when possible. Be wary of the phrase “I’ve never seen that before,” especially if it becomes your own default reaction.

It’s okay to be confident in your work. Just make sure your confidence is grounded in real engagement- not just repetition or external validation.

Encouraging Representation: How the SCA Can Better Support Non-European Studies

The SCA has long been rooted in the romanticized imagery of medieval and Renaissance Europe- but our history is far broader than that. The Known World includes storytellers, warriors, artisans, and thinkers from every corner of the globe. And yet, many cultures of color, Indigenous societies, and other non-European traditions remain significantly underrepresented in our events, competitions, and social circles.

Representation isn’t just about who shows up. It’s also about who feels welcome, whose knowledge is valued, and whose history is visible. Individuals and institutions alike have a role in shaping this.

Peers, Kingdom officers, and event organizers can help encourage representation by:

• Welcoming diverse entries  at all stages of development- not just “polished” projects
• Expanding documentation guidelines to include oral histories, descendant scholarship, and interdisciplinary evidence
• Avoiding Eurocentric comparisons in judging feedback
• Promoting and attending classes on underrepresented cultures- even if they fall outside one’s usual interest
• Supporting accessibility for those with physical disabilities, financial constraints, or health challenges that impact event participation

Example: A Laurel advising an apprentice working in West African textiles might help advocate for rubric flexibility, assist in sourcing scholarly materials, or co-teach a class to boost visibility.

Representation also benefits from visual presence. Seeing garb from outside Western Europe challenges assumptions and opens doors. Teaching classes, displaying your work, or even wearing your persona’s clothing at Court or a feast can help normalize non-European portrayal and invite conversation.

It’s also important to acknowledge intersectionality- the way race, disability, gender, and class intersect to create unique challenges. A disabled BIPOC reenactor, for instance, may face barriers, unconscious bias, and assumptions about their ability to contribute. Supporting their work doesn’t just mean praising their output. It means recognizing and adapting to the circumstances they work within.

Quote: “If we aren’t intersectional, some of us- the most vulnerable- are going to fall through the cracks.”- Kimberlé Crenshaw

True representation isn’t just about numbers. It’s about visibility, equity, and belonging. Creating space for diverse histories benefits everyone- and brings the Known World closer to the richness of the real one.

Navigating Being a Pioneer: Studying a Culture with No Established SCA Presence

Sometimes the hardest part of studying a culture of color, an Indigenous culture, or another historically underrepresented tradition is that… you may be the only one doing it– at least in your kingdom, barony, or local group. That can feel lonely, intimidating, or even discouraging.

But it can also be empowering.

If no one else is actively researching your area of interest, that doesn’t mean the work isn’t worth doing. It means you’re opening a door- and when you do, others may follow. Being a pioneer in historical study takes resilience, creativity, and community-building. Here’s how to navigate it: 

1. Document everything- clearly and honestly.

Keep detailed notes of your sources, interpretations, adaptations, and decisions. Create digital folders, notebooks, or spreadsheets to track what you’ve read and what influenced your choices. Use plain language in documentation when needed. A well-organized process builds credibility and invites dialogue.

2. Share your work in multiple formats.

Not everyone learns the same way or has access to the same events. Consider building a website, writing blog posts, sharing on social media, or uploading class handouts. If you’re comfortable, teach classes- even short ones. Offer “show and tell” displays at events, enter your work in non-competitive exhibitions, or hand out resource cards.

Tip: If you have trouble with public speaking, prepare a short printed explanation of your outfit, artifact, or research focus. You can hand it to curious people or post it beside your display.

3. Use broader academic and community networks.

You don’t need to limit your research community to the SCA. Look for university departments, cultural heritage organizations, online history forums, or groups like Costumers of Color. You may find modern researchers, craftspeople, or elders who are eager to share knowledge and collaborate.

Example: A reenactor studying Ptolemaic Egypt may find more support and accurate information in Egyptology circles, heritage museums, or academic publications than in local SCA groups. Sharing what they learn with their reenactment community then helps fill that gap.

4. Accept that you may become “the person” others come to.

If your field is small within the SCA, people may begin treating you as the authority. This can be flattering- but also overwhelming. You’re not required to know everything. You’re just sharing what you’ve learned. Be transparent, continue to grow, and when you don’t have an answer, say so.

“I haven’t found a source for that yet, but here’s how I’m approaching it for now” is a powerful and humble way to frame developing research.

5. Remember that your visibility helps others.

You might not know who’s watching- or who you’re quietly encouraging just by showing up. Every class taught, project displayed, or scroll shared online expands the boundaries of what’s seen as “normal” in the SCA. That’s how representation grows.

Understanding the Impact of Colonialism on Historical Narratives

Colonialism didn’t just disrupt cultures in the present- it also distorted how their pasts were recorded, interpreted, and preserved. As modern reenactors, we inherit these distortions, whether we realize it or not. Understanding how colonial powers shaped historical narratives is essential for anyone studying a culture that was invaded, colonized, enslaved, or otherwise marginalized.

Colonial-era scholars, missionaries, and administrators often document what they encountered with a strong bias: they saw non-European cultures as primitive, static, or inferior. They misunderstood customs, misnamed garments or tools, and stripped objects of their ceremonial or social meaning. Even well-meaning ethnographers were shaped by the racist ideologies of their time.

Example: Early European accounts of West African kingdoms like Mali or Benin often portrayed their rulers as brutal despots and their achievements as anomalies. Only in recent decades have scholars begun to challenge these portrayals, using archaeological and oral evidence to reconstruct more accurate depictions of sophisticated trade networks, city planning, and political systems.

In many cases, colonizers actively destroyed local knowledge systems- burning manuscripts, banning languages, dismantling religious practices, and replacing educational systems with colonial curricula. The result is a fragmented historical record shaped by power dynamics rather than cultural self-representation.

This presents two key challenges for reenactors:

1. Finding sources that reflect the culture’s own perspective
2. Knowing when to question the authority of colonial-era documents

This doesn’t mean we discard older sources entirely- but we must read them critically. Ask:

• Who wrote this?
• When and why did they write it?
• How might their identity, politics, or purpose affect the account?
• Are there newer sources or descendant perspectives that provide balance?

Where possible, seek out modern scholarship that centers voices from within the culture. Look for translations of indigenous manuscripts, academic studies by BIPOC scholars, museum catalogs from source communities, and publications that highlight oral histories or archaeological findings rooted in local interpretation.

Quote: “Colonial archives are not neutral- they are tools of governance, and must be read against the grain.”- Ann Laura Stoler

Being aware of these colonial legacies allows us to approach our reenactment with more nuance and respect. It helps us honor the cultures we study- not just recreate them.

The Role of Material Culture in Historical Research

When written records are missing, distorted, or simply don’t exist, material culture becomes one of the most powerful ways to understand and portray a historical tradition. Objects- garments, tools, art, weapons, architecture- carry meaning. They reflect how people lived, what they valued, and how they saw the world. In many cultures, especially those with oral or performative traditions, these objects are the historical record.

Material culture helps reenactors fill in gaps left by colonial erasure or linguistic barriers. It can also be more accessible to some learners- particularly those with a visual or tactile learning style, or for those with disabilities that make traditional research methods difficult.

Example:  A reenactor interested in ancient Nubia may find relatively few written texts. But thousands of ceramic vessels survive, many with intricate surface decoration or symbolism. By studying patterns of pottery production, decoration, and distribution across burial sites, scholars have reconstructed trade routes, cultural affiliations, and social hierarchy- without a single manuscript.

This approach is widely recognized in academic fields such as archaeology, ethnography, and museum studies. It’s especially important in cultures where objects carried spiritual, communal, or ritual significance. A robe might indicate a religious role. A weapon’s design might signify clan identity. A particular style of weaving might encode regional history or migration.

That said, interpreting material culture comes with responsibilities:

• Context matters.  Don’t isolate an object from the culture that produced it. Study how it was used, who had access to it, and what it represented.

• Avoid assumptions. A similar object in another culture might have a completely different meaning. Don’t project familiar interpretations onto unfamiliar items.

• Be cautious of museum labeling. Many colonial-era museum collections carry misattributions, invented names, or incomplete provenance. Where possible, seek updated scholarship or source community perspectives.

And finally, be transparent. If you’re basing your persona, garb, or display primarily on surviving artifacts, explain how you’ve interpreted those items and where you made choices based on available data. This level of honesty doesn’t weaken your presentation- it strengthens it.

Material culture invites us to learn through making, touching, wearing, and building. It can connect us to the past in deeply personal ways and allows us to share history in ways that words alone sometimes cannot.

Best Practices for Handling Sacred or Ceremonial objects in Reenactment

In many cultures- especially Indigenous, colonized, or deeply spiritual ones- certain garments, objects, and symbols are not just historical. They are sacred. Ceremonial regalia, religious tools, or ritual makers may still carry deep spiritual significance for living communities. Using them out of context, even unintentionally, can cause real harm.

In the SCA, we often walk a line between research and reenactment. Our work is creative, educational, and social. But it is also public- and visible portrayals can affect how others view both the culture and the reenactor. That’s why caution around sacred items is so important.

Start by asking:

• Was this item used in a religious or ceremonial context?
• Is it still used today?
• Would someone from this culture see its public display as inappropriate, disrespectful, or harmful?
• Am I qualified or authorized to portray this role or wear this object?

If you’re unsure, step back. Look for alternate ways to express the same culture. Focus on public dress, trade items, domestic tools, or celebratory traditions. Avoid religious roles, priestly vestments, or burial objects unless you have direct cultural or scholarly guidance that supports their use.

Example: A reenactor interested in a 14th- century Puebloan culture might admire the ceremonial attire used in ritual dances. But instead of recreating sacred garments, they could focus on everyday weaving, pottery styles, or social structures- and explain how these supported ceremonial life without portraying it directly.

What about special SCA occasions?

In some cases, ceremonial objects inspired by your culture of study may be appropriate for special moments like coronation, elevations, or investitures– but only with caution. Use these guidelines:

• Ensure the item is not actively sacred in the present-day tradition.
• Modify it clearly for the SCA context, especially if it represents religious function.
• Include visible explanation (oral or written) about its historical inspiration and respectful adaptation.
• If possible, consult with knowledgeable members of the source culture, or a modern practitioner.

Example: A laurel elevation scroll inspired by an Ethiopian Gospel manuscript might use the decorative motifs and illuminated borders- but not include liturgical symbols or invoke prayers unless the recipient shares the cultural or spiritual background.

If in doubt, don’t do it.

 This isn’t about restriction- it’s about care. Choosing not to reproduce something is a powerful sign of integrity. And if someone in your community has already misused a sacred element, gently offer educational alternatives. Public mistakes can become teachable moments, especially if we respond with compassion and a willingness to do better.

Sacred items carry weight. Handle them accordingly.

Addressing Misconceptions and Double Standards in Reenactment

One of the more frustrating parts of studying and portraying a culture of color or indigenous culture in the SCA is encountering the quiet (or loud) assumptions that your work is “less period”, “not authentic,” or “too modern”- even when your research exceeds the standard.

These assumptions often stem from unconscious bias or simple unfamiliarity. People tend to trust what looks like what they’ve seen before. For many in the SCA, that means European medieval iconography: brocade gowns, Viking aprons, heraldic banners, and illuminated manuscripts. Anything that doesn’t match that mental template risks being misunderstood, dismissed, or held to a higher standard.

Example: A participant wearing a meticulously researched Tang dynasty outfit may be told it “looks like a costume” because of bright silk or unfamiliar silhouette- even if the fabric, construction, and patterns are documented with museum-level precision.

This double standard plays out in judging, casual comments, persona interactions, and even teaching. BIPOC and Indigenous participants may be asked to justify their presence, explain their choices more often, or correct misinformation casually assumed to be true.

So what can you do?

1. Know your sources.

When you can, carry your documentation (or a summary) with you. Be ready to explain your choices calmly, not because you owe anyone proof, but because sharing your work educates others and models integrity. This is especially useful when a casual critique is made from ignorance, not malice.

2. Frame your persona in context.

When possible, use visual aids, maps, or brief introductions to help people locate your work in history. Help them see the world outside Western Europe, and how your persona fits into that broader narrative.

Tip: “This is a 12th-century North African merchant outfit- my culture traded with Italian ports and Islamic empires along the Mediterranean” gives a quick anchor that shifts someone’s frame of reference.

3. Redirect gently but firmly.

When confronted with a dismissive comment, try:

• “That’s a common misconception. Actually, here’s what we know…”
• “I know it’s unfamiliar- this part of history doesn’t get taught much, but there’s fascinating research behind it.”
• “If you’re curious, I’d be happy to show you my sources or walk you through the choices I made.”

4. Recognize systemic barriers.

If your work is being judged more harshly- or questioned  more frequently- it’s not about your worth. It’s about gaps in the system. Raising these issues with A&S officers, DEIB communities, or Peers you trust can help drive change over time. You’re not alone in this.

And if you’ve internalized some of these misconceptions yourself- wondered whether your work “counts” because it doesn’t look like what others are doing- please know this: it counts. And it matters.

Your history is history, too.

Overcoming Barriers in Sourcing Materials, Language, and Research Mentorship

Studying and portraying underrepresented cultures in the SCA often requires overcoming more than just academic hurdles. Many reenactors working outside of mainstream European frameworks face logistical and systemic obstacles that affect their ability to research, create, and share their work. These barriers are real- and they’re not a sign of lack of effort. They are the legacy of unequal access.

Here are some of the most common challenges and ways to navigate them:

1. Limited access to materials

Many of the historically accurate materials used in BIPOC or Indigenous cultures are expensive, rare, or not produced at all today. For example:

• Handwoven cotton or silk in non-Western patterns may be difficult to find or prohibitively expensive
• Natural dyes or traditional tools may not be commercially available
• Ceremonial elements or cultural motifs may be protected or restricted from reproduction

Tip: When substitutes are necessary, document them openly. Explain why you made your choice and what the historical equivalent would have been. Judges and viewers appreciate honesty and intention.

Example: A reenactor using screen-printed cotton in place of hand-painted barkcloth can still present their work with respect and accuracy- so long as the substitution is acknowledged and explained.

2. Language barriers

Historical texts or scholarships may only be available in languages you don’t read. This is especially common when researching cultures whose surviving records are in Arabic, Classical Chinese, Ge’ez, Nahuatl, or other non-Western languages.

What helps:

• Look for translated academic complications or bilingual museum catalogs.
• Use scholarly databases like JSTOR or Google Scholar with filters for translated works
• If available, consult with language students or professors at local universities- many are happy to help
• Use AI or machine translation tool with caution, only as starting points

Even if you cannot access the full text of a manuscript, understanding what it is and where it comes from still adds depth to your documentation.

3. Lack of mentorship

Many people working in non-European areas of study report feeling isolated- particularly if there are no Laurels, researchers, or community leaders in their region who share or understand their focus.

If that’s your situation:

• Reach out beyond your kingdom- online groups like Costumers of Color or Voices of Color often include people working on similar projects
• Document and share your work publicly (through social media, blogs, or handouts) to attract conversation and feedback
• Seek out allies and advocates who may not be in your field, but who understand the importance of inclusion and visibility
• Don’t wait for perfection to participate- teaching what you know may attract others who want to learn with you

Mentorship doesn’t always come from above. Sometimes, it grows sideways- from peers walking beside you.

4. Health, disability, or economic barriers

Not all obstacles are academic. Chronic illness, mobility limitations, financial hardship, or caregiving responsibilities may limit your ability to attend events, travel to libraries, or purchase materials. These are real, valid, and should be acknowledged.

The SCA culture sometimes celebrates “doing more” without recognizing that not everyone can. Your research and representation are valuable even if you can only participate part-time, online, or from home.

Adaptation is not failure. It’s resilience.

The Role of Global Interactions and Trade Networks in the Medieval Period

One of the most enduring myths in medieval reenactment is the idea that premodern Europe was isolated, stagnant, or disconnected from the rest of the world. In reality, the medieval period was defined by global interaction– through trade, diplomacy, religion, scholarship, and warfare.

From the Silk Road to the Indian Ocean spice trade, from the trans-Saharan routes to Viking expeditions reaching Central Asia and North America, medieval people traveled, traded, fought, and shared ideas across continents. Portraying cultures of color or Indigenous cultures isn’t an outlier- it’s part of actual historical record.

Example: A 13th-century North African trader might have interacted with Andulusian Muslims, Italian merchants, sub-Saharan African traders, and even representatives from the Mongol Empire- all within a single port like Tunis or Alexandris.

Acknowledging these global connections helps us challenge narrow, Eurocentric portrayals of the medieval world. It also creates space for personas from:

• East Asia (China, Korea, Japan, Tibet)
• South and Southwest ASia (India, Sri Lanka, Philippines, indonesia)
• The Islamic world (Persia, the Ottoman Empire, the Maghreb, Al-Andalus)
• Sub-Saharan Africa (Mali, Songhai, Ethiopia, Great Zimbabwe)
• The Americas (Aztec, Maya, Inca, Taino, Mississippian cultures)
• Polynesia, Australia, and the Pacific Islands
• First Nations and Indigenous peoples across the Americas

These were not isolated societies. They had long-standing systems of governance, trade, religious practice, social hierarchy, and intellectual development. They deserve to be represented with the same depth and respect as any European kingdom.

Trade and diplomacy also created opportunities for cultural exchange. Materials, ideas, and technologies moved across borders constantly:

• Paper from China reached the Islamic world and the Europe
• Arab mathematics translated Greek texts and advanced algebra and astronomy
• West African empires minted gold coins and built universities
• Mongol diplomatic envoys traveled from Beijing to Rome

By studying these networks, you can connect your portrayal to others in the Known World- and help others see the interdependence of global cultures long before the modern era.

You don’t need to justify portraying a non-European culture in the SCA. The historical evidence justifies it for you.

Representation, Legacy, and Mentorship: Building a Path for Others

Portraying a culture of color, Indigenous tradition, or underrepresented identity in the SCA is more than a research project. It’s an act of representation. It’s about making the unseen visible, expanding the boundaries of what is considered “valid” historical study, and creating space for others to do the same.

For many participants- especially BIPOC, disabled, or otherwise marginalized reenactors- just showing up in garb that challenges expectations can be powerful. Teaching a class, entering a competition, sharing your research, or standing in Court in a persona no one else in the room shares is a form of quiet revolution.

It’s also the beginning of legacy.

1. Share your knowledge.

Don’t wait to be an expert. Share what you’ve learned- however far along you are. Teaching doesn’t require perfection. It requires preparation, honesty, and generosity. If speaking isn’t your strength, write handouts, record videos, or create online posts. Make your work accessible to others who may not be ready to speak up yet.

Tip: Include citations or resource lists with every post or project. That helps others continue where you left off and validates your work as serious research.

2. Be visible- even if it feels uncomfortable.

Representation matters. You might not know who you’re inspiring by wearing a specific garment, entering that A&S display, or answering a question with confidence. Your presence may be someone else’s permission to begin.

Quote: “we can’t be what we can’t see.”- Marian Wright Edelman

3. Build legacy through mentorship.

Mentorship doesn’t require formal titles or apprenticeships. It can look like:

• Encouraging someone to submit a display or class
• Offering to review a friend’s documentation draft
• Sharing your research with someone just getting started
• Amplifying the work of other underrepresented artisans, performers, or scholars

If you have the bandwidth to mentor, do it. If you’re not ready, just be kind and generous with your support.

4. Encourage- but don’t pressure- descendant participation.

Some people feel a strong calling to research and share their own heritage. Others do not. Both are valid. Descendants should be encouraged to explore if it aligns with their interests- but never made to feel obligated to represent their culture for others.

5. Know that what you build can outlast you.

Your class notes, documentation, social media posts, blog entries, and displays are more than ephemera. They’re part of a growing archive of voices reshaping the SCA’s understanding of the world. You don’t have to finish the work alone- but your contribution matters.

You may be the first person someone sees in your culture’s garb at a Kingdom event. You may be the first person teaching a class on your tradition’s history. But if you share what you know, and make space for others to do the same, you won’t be the last.

Final Thoughts

Exploring and portraying a culture of color, an Indigenous tradition, or any historically underrepresented identity in the SCA takes courage, creativity, and commitment. Whether you are reconnecting with your ancestry, following a personal interest, or helping expand the Known World’s historical landscape, your work matters.

It’s okay to start small. It’s okay to get things wrong, revise, and grow. The SCA asks only for an attempt– but let the attempt be a respectful one. Learn what you can. Cite your sources. Ask questions. And when the information is incomplete, be honest about what you’ve done to interpret it. Transparency, curiosity, and humility will take you further than perfectionism ever could.

Representation is powerful. Your presence creates space. Your research adds depth. Your visibility invites others into the conversation. You don’t have to be the final word on a culture- you just have to be one voice helping keep it alive.

What we build here can be educational. It can be joyful. It can be a legacy.

Let it be all three.

Bibliography

Crenshaw, Kimberlé. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics.” University of Chicago Legal Forum 1989, no. 1 (1989): 139-167.

Kruger, Justin, and David Dunning. “Unskilled and Unaware of It: How Difficulties in Recognizing One’s Own Incompetence Lead to Inflated Self-Assessments.” Journal of Personality and Social Psychology 77, no. 6 (1999): 1121-1134.

Malafouris, Lambros. How Things Shape the Mind: A Theory of Material engagement. Cambridge, MA: MIT Press, 2013.

Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. 2nd ed. London: Zed Books, 2012.

Stoler, Ann Laura. Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense. Princeton, NJ: Princeton University Press, 2009.

About the Author:

Dr. Anela Abdel-Rahman (Talia bint al-Athir) is a Native Hawaiian cultural practitioner, educator, and Cultural Ambassador. She is an Egyptologist and holds a Doctorate in Psychology (PsyD), and is best recognized in the Society for Creative Anachronism for her scholarship in ancient Egyptian daily life, dress, cosmetics, and fragrance.

She serves on the Board of Directors for Costumers of Color and is actively involved in DEIB (Diversity, Equity, Inclusion, and Belonging) work across the Known World. Talia regularly teaches classes on cultural appreciation versus appropriation, inclusive portrayal, and ethical engagement with underrepresented histories. Her work emphasizes accessibility, intersectionality, and legacy-building in the reenactment community.