Combining the perspectives of political economy and culture provides for a more comprehensive analysis of themed space in the context of urban theory. Political economy addresses the politics of developing an urbanized themed space, revealing that growth machines and entrepreneurial actors are the ones pushing urban development and creating urban wealth. There are social conflicts engendered in urban growth; in the case of restoring Colonial Williamsburg, African-American residents were affected differently than white residents because they were restricted to areas during relocation and their standard of living did not improve as it did for their white counterparts.

A cultural analysis emphasizes how themed space is a controlled environment that is manufactured to represent a particular culture and theme, one that often provides illusions of risk and congestion, such as that of an urbanized space. It is referred to as the “riskless risk” because partakers in the experience are never in any real danger. Since Williamsburg is a complete simulation of times past, it stands as an aesthetic of the Revolutionary days. So, while one can pretend to be the common criminal on public display in the pillory and take a picture as a souvenir, they will always be released at the end of the day. One enjoys a momentary incarceration as a show, for the illusionary experience of public punishment. The tourist is always the spectator that is immersed in the aesthetic of the time.

Those who tour Colonial Williamsburg, experience a piece of colonial history by being fully absorbed for a day in a replica of the 18th century. The living history park is dynamic, as it is an ongoing production complete with its own cast of colonial players---the apothecary, the blacksmith, the cooper, the slaves, the judge and the colonial officials. The range of roles attempts to represent all classes of the time period. Visitors enjoy the hustle and bustle of colonial times, the food and music, and the public festivals. Invariably, Colonial Williamsburg is a themed space that is family-oriented, designed for family activities, one that does not cross the boundaries for what is family appropriate. One always walks away from Colonial Williamsburg having had clean, wholesome fun.

In its quest to preserve the culture, morals, and traditions of the 18th century, Colonial Williamsburg has indeed succeeded in assigning an exchange value to history. The history of Colonial Williamsburg must be bought in the form of a ticket, a day pass that enlightens tourists with facts and sends them away with an increased knowledge of colonial life and culture. The more historically themed restaurants, shops, hotels, activities, and attractions there are, the more revenue Colonial Williamsburg will generate. People will flock to Colonial Williamsburg, a place frozen in time, and they’ll be sure to have their pocketbook ready.

Although a monetary exchange must take place in order to access the history of Colonial Williamsburg, the history itself is taught by means of experience. Employees at Colonial Williamsburg portray real citizens from the 18th century. Therefore, tourists can watch an actual trial in the Williamsburg courthouse that took place decades ago. They can see wigs, saddles, cartwheels, shoes, and a number of other items being made by trade people and skilled craftsmen, in what Michael Sorkin would label the postindustrial phenomenon of “the reinvention of labor as spectacle” (Sorkin 410). Tourists might even be lucky enough to meet famous historical figures, such as Thomas Jefferson, while walking through the town. The individual literally holds the quality of their experience in the palm of their hand. With good planning (and the right vacation package) the learning possibilities are endless.

Nevertheless, depending on who you are, or more importantly, who you are not, your experience at Colonial Williamsburg will vary greatly. Each experience will contribute to the individual’s personal opinion of Colonial Williamsburg’s use value. The use value will ultimately determine whether or not Colonial Williamsburg is worth the time, effort, and money of the public. This signifies the town’s transformation from selling history as a commodity, to selling history as a commodity in order to increase it’s sign value, and in the process, it’s use value. The vision that W.A.R. Goodwin and John Rockefeller had in mind, to leave Williamsburg a living and functioning historical museum for future generations, has been taken to the extreme. Now, Williamsburg has become little more than a place to scratch off the checklist of Must See Theme Parks. The experience has become a novelty, simply something to do. The education is either forgotten as soon as the next Theme Park comes along, or not taken in at all. The main purpose is to be able to say, “I’ve been there”.

What exactly has contributed to this distorted view? The same factors that render cities as sites for symbolic economies. Williamsburg is a family destination that is safe, fun, and aesthetically pleasing. It is a place where someone can be educated, entertained, and can take a break and relax from his or her hectic everyday life. Children can rent period costumes for the day, and can exchange their money for replicas of Eighteenth century currency. Parents and adults can stroll through the gardens or relax in an authentic tavern. Williamsburg has found ways to cater to all generations. The Williamsburg Foundation’s ability to manufacture the aesthetic quality of the town evidences the manner in which Colonial Williamsburg reflects modern urban planning, such as City Beautiful. As Michael Sorkin points out, “the City Beautiful’s fascination with sumptuousness, visible order, and parks- with the monumental, “public” aspect of the city- anticipates the physical formula of the theme park, the abstraction of good behavior from the total life of the city” (Sorkin 396). In sum, the fundamental idea behind the creation of Colonial Williamsburg is the production of a completely controlled space, where visitors can escape the harsh realities of old cities. Therefore, Colonial Williamsburg is grounded in urbanism.

Works Cited:

Sorkin, Michael. 1992. “See you in Disneyland,” in Michael Sorkin (ed.), Variations on a Theme Park: The New American City and the End of Public Space. New York: Hill and Wang, pg. 205-32.