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What I want to do now is to look at some of them in a little bit more detail, 

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some of the complex types and ranges of performances that visitors engaging. 

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To do this, I want to walk you through just one visitor,

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 because she  does a lot of performances. 

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So when a visitor is coming to a heritage site, 

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they made one performance of reinforcement, 

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but they also may be engaged in almost all of the performances. 

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There can be a complex response from visitors. 

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So this is one of those very complicated responses, 

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but it illustrates five performances I've identified. 

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This woman she is visiting the Civil Rights Museum in  

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Memphis Tennessee in the United States. 

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The Civil Rights Museum is in the Lorraine Hotel, 

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which was the site Martin Luther King was assassinated in the nineteen sixties.

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 He, of course, was a major civil rights leader in the United States.

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 The speaker is a woman. 

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She is a postal worker. 

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She's a union president for the postal service in Chicago, 

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the town that she comes from in the United States.

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 And she described self identified herself as black American, 

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and she is visiting with her twelve year old son.

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 And I asked the question,

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 are there any messages about the heritage or history of America

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 that you take away from this museum?

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 And she responds,

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“It really is, just the history of it is so, you know, [...].

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 And me being a union president".

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Remember I said she was a member of the union

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"Being at the museum puts me on focus".

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 It makes me think about those things.

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" And being a parent, a parent of young kids and a young parent, 

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it just puts me on focus again, focusing on these issues.

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 Put me on focus as to my kids.

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 When I first brought my youngest son here, he'll be thirteen next month". 

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As I said, she was visiting with her then twelve year old son.

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"When I first brought my youngest son here, 

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and we walked through [where] the Ku Klux Klan clothes were",

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 I'll assume you know the Ku Klux Kla were a crisis reactionary group

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 in the United States that were outlawed during the sixties, seventies. 

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Very unpleasant. 

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Murdering that they've reached a lot of African American people.

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 So when we walked through [where] the Ku Klux Klan clothes were, 

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he was about four and when we came through the museum, 

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my first thought was,

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 ‘what are white people doing in their heads

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 because they know what they did to us?' 

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So she said what are these white people doing in this museum about black history?

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 I mean just honestly and I'm looking around because I'm astonished at that.

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 She's astonished that these white people there. 

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And then when my son walked upon the Ku Klux Klan, 

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he said out loud, as kids do, ‘Momma, who pyjamas are those?' 

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 And everybody turned and looked at me. 

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That is all the white people turned and looked at her 

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and they're waiting for her respond to her son.

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 And she says,  ‘Those aren't pyjamas. I'll tell you about them'. 

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And you know, the whites there waiting for me to answer. 

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And we keep going.

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 And I like reading this stuff to my son and saying,

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 ‘And this is what they do, this is why people did to black people and this is what. '

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And he bust out again, ‘Who is black, mama?' 

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And I said, ‘Oh my god', and I looked at him,

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 and you know I saw this white guy watching

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 and I'm like ‘You are black'. And he was like,

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 ‘No, no, no, I'm not black, I'm yellow.' 

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And I said, (Just as kids doing.)

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‘Okay', and I remember what my pastor said: 

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‘You don't know you're poor until you're told you're poor.

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 You don't know you're black until you're told you're black.' 

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He never knew he was black. 

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So, when I bring him here he learns more,

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 and we come every year because I have family down here. 

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So they come every year to the museum. 

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Now, as I said, this speaker touches on a range of issues also raised by other speakers.

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 I'm using here as an example. 

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The first performance she's engaged in is that she is using the museum to remember

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 and commemorate her own experiences in the civil rights movement. 

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She put herself on focus about the social values as a union member.

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 And with this remembering comes 

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a reinforcement of her values as a union activist of social values. 

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And this is a former progressive self conscious reinforced horseman, 

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which was, as I said, particularly strong at museums of labor, 

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immigration, civil rights, and an insider thoughts. 

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These sites were exhibitions that were seen to represent consensus national narratives. 

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What was remembered was often less personal,

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 but no less strongly held emotional commitments 

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to master narratives of nation and citizenship. 

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And these narratives were frequently reinforced, 

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even in contexts where the curatorial or interpreted message 

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aimed to destabilize and challenge those narratives. 

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And I'll come back to that point, but go back to the speaker. 

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This is her and her youngest son's fourth visit to the museum. 

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And she's using this previous visits to pass on family history and social values to her son. 

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So this in a very real sense, 

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the museum is being used as of a mean of socialization.

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 So heritage here is being used as a cultural tool in passing on family memory, 

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family knowledge, and values. 

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Now, in some instances, 

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the performance of visiting and where you visited with something 

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that parents taught their children. 

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For instance, visiting Presidential Houses in the United States 

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or Stately Homes in England and Australia was something 

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that people from middle class backgrounds and white backgrounds did 

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and were engaged on passing on to their children. 

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You are white English middle class, so you visit Stately Homes, that's what you do. 

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So its a performance, regardless of what may mean. 

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It's a performance of identifying yourself as a particular member of particular social class. 

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And many of those sites that I've surveyed.

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There was also people from recent immigrants to those countries 

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who also use those sites as a culture of themselves,

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 if you like, to the new national identity.