Virginia Dare has a singular place in American history. She is most well-known as the first child of European settlers born in the “New World.” She was born on August 18, 1587 in the lost colony of Roanoke. This colony would eventually achieve infamy for its disappearance, becoming known as the lost colony. Virginia’s legacy goes well beyond her historical importance. For generations, since the 1800s, white supremacists have celebrated her legacy, frequently appropriating her story to serve their agendas.
Recent drama over a blog post from the Department of Homeland Security (DHS) has reignited debates on Virginia Dare’s meaning. The post featured an AI-rendered painting of Virginia Dare by artist Morgan Weistling that depicted two parents praying for their child’s life during a difficult journey. This portrayal has ignited firestorms of resistance. Most of us understand it as nothing more than an entry point to propaganda that fosters authoritarianism found in the ideologies of Nazi Germany. Though controversial for its messaging, DHS further incited the storm by using Weistling’s painting without permission.
The painting’s imagery evokes a Western interpretation of the nativity scene, reminiscent of Mary and Joseph’s journey. Opponents say the measure advances anti-democratic, far-right ideals. This fear increased particularly after the creation of VDare in 1999, a website IDed specifically VDare after Virginia Dare, which has relentlessly promoted anti-immigration panic. The site went enflaming extremist sentiments and was shutdown for good last year. Peter Brimelow started VDare to promote an anti-immigrant narrative he calls “white genocide.” He picked this name to double down on the supposed dangers of non-white immigrants.
Adam Klein, an associate professor at Pace University, noted that the painting is not violent on its face. Its context calls into question several key issues.
“On the surface, it’s a beautiful image. But when you look at where it’s coming from, with [DHS using] language like ‘homeland’ and ‘heritage’, that’s really evocative of anti-immigrant sentiment.” – Adam Klein
In defense of the post, a DHS spokesperson told The Hill that they have a deep commitment to American history.
“If the media needs a history lesson on the brave men and women who blazed the trails, forded the rivers, and forged this Republic from the sweat of their brow, we are happy to send them a history textbook. This administration is unapologetically proud of American history and American heritage. Get used to it.” – DHS spokesperson
Renee Hobbs, a professor of communication studies, said that the DHS was misguided to use such imagery. Beyond this topic, she contextualized this practice within larger patterns of propaganda. She loves teaching her students about the “four pillars of propaganda.” These pillars are all about igniting powerful feelings and reaching deep into Americans’ greatest hopes and fears.
Hobbs reiterated that though on the surface the painting looks harmless, it actually presents a grave narrative.
“This could be an image from a children’s book.” – Renee Hobbs
She discussed how the emotional reactions that these types of imagery create prevent the public from thinking critically.
“I’m a boomer, and I read these kinds of stories as a child. Now I have a critical perspective on manifest destiny, but this taps into my memory, which can bypass critical thinking.” – Renee Hobbs
Klein found this to be as well, arguing that DHS’s tweet appeared intentioned to stoke controversial responses.
“DHS is looking for engagement, and the use of emotional imagery gets people to react, whether they love it or hate it.” – Renee Hobbs
The ongoing dispute over Virginia Dare’s portrayal is representative of a much larger trend of how historical figures can be co-opted to advance modern-day agendas. The appropriation of Virginia Dare’s image by white supremacist organizations is one example of how myths and stories can be twisted to spread xenophobic propaganda. As discussions about immigration and national identity unfold in America, Virginia Dare remains a symbol ripe for exploitation.