Book Review: Zouave Theaters: Transnational Military Fashion and Performance
Zouave Theaters: Transnational Military Fashion and Performance. By Carol E. Harrison and Thomas J. Brown. Baton Rouge: Louisiana State University Press, 2024. Hardcover, 316 pp. $50.00.
Reviewed by Patrick A. Schroeder
Overlooked for too long, the full impact and understanding of the “Zouave Craze” is brought to light in Zouave Theaters: Transnational Military Fashion and Performance, in which Carol E. Harrison and Thomas J. Brown seek and achieve the full, worldwide story of Zouaves. The book goes beyond the military aspects, which began with the French in Algeria during the 1830s, to the battlefields of the Crimea, Italy, and America, and shows how the Zouave dress permeated many cultures regardless of gender.
Zouave military exploits drew attention through newspaper accounts, paintings, sketches, and photographs. These still capture the interest of historians today, but this story is much broader. French Zouaves gained notoriety for plays they performed, even while in the area of active combat. Theater companies, including the Inkerman Zouaves, began emulating the military Zouaves and incorporating them into the performances. Contrary to their battlefield roots, the Zouaves in theater were sympathetic figures often portrayed by women lending to the unisex use and appeal of the uniform in Paris, London, and the United States. It was more than Elmer Ellsworth that advanced the Zouave attire across the country. In New York, actress Laura Keene created “Seven Sisters,” a show centered on Zouave soldiers. After 253 NYC performances, the show toured northern cities and spread the Zouave fascination. In fact, a half dozen Zouave companies already existed at the time of Ellsworth’s tour with the United States Zouave Cadets in 1860.
The authors show the Zouave uniform not only crossed gender lines, but also racial ones through North African tribesmen, native Frenchmen, and Union soldiers. These American soldiers include those in the initial recruitment of the 10th United States Colored Infantry and Black Zouave militia companies, including the Fort Pitt Cadets and the Hannibal Zouaves. The British West Indies regiment wore Zouave attire, and Brazilian Zouaves served in the war of the Triple Alliance against Paraguay.
Zouave Theaters covers just about all things Zouave. In doing so, the authors emphasize Zouave diversity. This not only includes the theater, as previously mentioned, but also the paintings of Winslow Homer, John Rogers’ sculptures, photographic art, as well as fine art. A full chapter, “The Livery of Rome,” explores the Papal Guard Zouaves, who were formed to defend and crusade for Pope Pius IX. This amalgamation of Catholic Zouaves answered the call and flocked to Italy willing to sacrifice themselves at the direction of the Pope. Interestingly enough, their moral compass was opposite of the original French Zouaves. These Pontifical Zouaves contained some famous (or infamous) members, including Lincoln conspirator John Surratt and Myles Keogh, who died with George Armstrong Custer at the battle of Little Big Horn. Though these Catholic Zouaves went down in defeat in 1870, one of their feeder organizations in Quebec remained active, and in 1984, assembled to welcome John Paul II to the province.
Harrison and Brown rightly dispel myths created by early historians and rely on evidence of Zouaves as part of Civil War armies from Bull Run to Appomattox. Though the writers touch on many of the both celebrated and disreputable American Zouave regiments, this book is not a detailed study of those organizations. French and American vivandieres, women in female Zouave attire who tended to regiments, are also given a healthy examination. There is even a hint that it was easier for a woman to disguise herself and join the ranks of a Zouave regiment than the standard ranks, although the evidence for this is not provided. The authors do agree with the modern line of thinking, which is that Zouave attire did not disappear due to being impractical or making great targets, as there are numerous accounts showing the soldiers’ preference for the loose fitting and free-flowing garments.
World War I put an end to many colorful uniforms, including the Zouave finery. Harrison and Brown describe how units carried on Zouave traditions and elements by keeping their flags, fezzes, or uniforms for parades. The Zouave only lived on through veterans, museums, or the original carte de visite images of the actual soldiers. In the United States, Zouaves found new life in the 1970s in the reenacting community, especially noted is Terry Daley and Brian Pohanka’s 5th New York, Duryee’s Zouaves.
There is much for a Zouave enthusiast to learn from Zouave Theaters, while also reminding readers that Zouaves “originated as an instrument of colonialism, even genocide.” (246) From the time Zouaves were the dominant character on the world stage, it serves well to understand the full range of their influence throughout the globe for more than a century. Harrison and Brown successfully illustrate the connection between the soldiers and the theatrical aspects of the Zouave influence on stage and through various aspects of art, culture, and society. Unfortunately, a bibliography is absent, but the citation sources can be found in the endnotes, as readers may have an interest in exploring Zouave soldiers, regiments and performances at a deeper level.
Civil War author/historian Patrick A. Schroeder is the full-time Historian at Appomattox Court House National Historical Park. He graduated cum laude with a B.S. in Historical Park Administration from Shepherd College, in Shepherdstown, West Virginia, and has an M.A. in Civil War History from Virginia Tech. He has written several books on various Civil War topics including Thirty Myths about Lee’s Surrender. In addition, Patrick has studied Civil War Zouaves extensively over the last four-plus decades as a living historian and he has written, edited, or published a half dozen books related to Zouave regiments and soldiers, including “We Came to Fight: The History of the 5th New York Veteran Volunteer Infantry, Duryee’s Zouaves, 1863 to 1865,” and Brian Pohanka’s “Vortex of Hell” about the original 5th NewYork Zouave 1861 to 1863.
Thanks for the review about the Zouaves. Lydia Hamilton Smith engaged the Butler Zouaves out of Washington, DC to stand honor guard around Stevens’ casket a he lay in state in the Capitol Rotunda in 1868. She also asked them to accompany his casket to Lancaster and continue as honor guard for the funeral processon through the streets of Lancaster and at the graveside. But O.J. Dickey, one of Stevens’ executors who chaired the local funeral committee refused to allow the Zouaves to do that. When the family informed him that the Zouaves were coming, here’s what happened next : Dickey told the family “arrangements there [Lancaster] would admit of no military display of colored men at the funeral. To this Mr. Simon Stevens replied that the arrangements had already been completed, and it was too late to alter the programme. The colored body guard of honor, he said, would go to Lancaster with the body, and after that the committee of Lancaster could do as they deemed.” The committee met the Zouaves at the station and permitted them to spend the night in Lancaster, then put them on the train to DC first thing the next day. A Philadelphia Inquirer reporter got wind of what was happening, and shared the information with the world: “’the committee used the discretion thus given them, by sending the colored men home the next morning after their arrival.” The reporter apparently spoke with the honor guard members before they left the city. He wrote, “It is needless to say that the colored men were at once mortified and chagrined. They had contemplated remaining to attend the funeral of the man whom their race almost worshiped while he lived.” But the reporter didn’t leave it there: ““This action is accounted for,” he wrote,”on the ground that Mr. Dickey, who is anxious to take Mr. Stevens’ place in Congress, wants to conciliate all branches of the Republican party in order to get the nomination.” The Inquirer’s correspondent didn’t think much of that. Thaddeus Stevens’ funeral is one of the biggest in U.S. history, he said. “The city of Lancaster presented a slight that will long be remembered by its denizens; and one of the most striking occurrences that will retain a place on the minds of the rising generation of Lancaster will be the remembrance of Thaddeus Stevens’ funeral.” Note: Dickey did replace Stevens in Congress (excerpt from An Uncommon Woman: The Life of Lydia Hamilton Smith, Penn State Press, 2023). Dickey shared office space with Stevens when he came to Lancaster, and was later elected Sheriff.