Pub Date : 2019-01-02DOI: 10.1080/04308778.2019.1588966
L. Cullinane
ABSTRACT This article examines the experiences of Irish workers employed in the Ford Marina Plant, Cork, Ireland between 1917 and 1932. The piece reconstructs how workers in Cork, unused to modern factory employment, adapted to Fordism. It begins with an overview of the ideology of Fordism and how it was implemented in Cork and then proceeds to examine the difficulties experienced by craft and agricultural workers in adapting to a modern factory environment as well as other features of Fordism, such as the strict discipline of the firm and the company’s severe attitude towards trade unions. Finally, the article analyses resistance among the workforce to management authority, placing these in their broader context. Throughout, the article makes extensive use of later oral testimony, the social memory of the workforce and reading against the grain of official documents to reconstruct the experiences of workers whose own testimony is no longer available.
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Pub Date : 2019-01-02DOI: 10.1080/04308778.2019.1592933
C. McDonough
ABSTRACT The Ordnance Survey of Ireland, carried out in the early-nineteenth century, was not just the process of mapping and collecting place names for translation as it is frequently depicted. The director of the Ordnance Survey, Sir Thomas Colby, decided to also use the Survey to carry out statistical, antiquarian, and geological surveys. The results of this trigonometrical survey include the so-called Ordnance Survey Memoirs and the Ordnance Survey Letters. Both sources provide valuable information about life in Ireland in the 1830s and early 1840s. Focusing in particular on the province of Connacht, this article argues that the Ordnance Survey Letters should be considered an important source of information about folklore and folk beliefs which were still extant or had been until shortly before the Survey visited the locality. This essay examines how, in a period of change and decline, the Ordnance Survey wrote local cultural heritage and identity onto the landscape.
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Pub Date : 2019-01-02DOI: 10.1080/04308778.2019.1599211
Vic Gammon
This is a very worthwhile volume. Like any such compilation, the contributions are variable in quality but none are without interest and some are very good indeed. Strong foundations have been laid for English morris dance history, for example, in the writings of Roy Judge, Keith Chandler and two of the writers represented here, John Forrest and the editor Michael Heaney. The book is organized thematically and roughly chronologically into seven sections varying from one to four chapters. It is extremely well presented and edited. After a brief but to-the-point introduction by Heaney, which addresses the plural ‘histories’ of the title, John Forrest contributes a lively and informative first essay, ‘How to Read The History of Morris Dancing’. This essay helps us to think about the important issues pertinent to the whole book. Forrest gives some fascinating background on the way that he, Chandler and Heaney carved up the field of morris dance history, researching different but complementary aspects. Forrest’s essay is peppered with pithy and pointed statements. Writing about the widespread belief that morris was the survival of an ancient fertility ritual (for which there is no historical evidence) he states:
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Pub Date : 2019-01-02DOI: 10.1080/04308778.2019.1599213
Ailbhe Nic Giolla Chomhaill
tradition. Much more down-to-earth is Roy Fenton’s account of the Greensleeves Morris Men (in ‘The Early Revival’ section as the team was founded in 1926 although the account goes up to recent times). This is good as a memoir and useful as source material for future writers, but does not go much beyond a brief account of the team. The penultimate section of the book deals with the subject of ‘Women in Morris’. Sally Wearing gives an account of costume choices made by women’s dance teams as they navigated the perceived issues of presentation and the interacting concerns of tradition, revival and gender. Mostly concerned with the new women’s dance teams of the 1970s, there are some thoughtful considerations of the influence of earlier periods, precedents, suitability and fashion. Val Parker gives a very good first-hand account of the Women’s Morris Federation (1975–1983) and its development into The Morris Federation. Lucy Wright gives us a lively and fascinating essay which rightly draws attention to the underresearched but vibrant and significantly numerous tradition of women’s carnival morris. Sometimes dismissively referred to as ‘fluffy morris’, this vigorous dance tradition has flourished outside and with no regard to the folk revivals. Unburdened by those particular ways of relating to the past, this practice has forged its own way for more than a century. Lucy Wright has discerned no wish from participants in the carnival morris movement to associate themselves with or see themselves in any way connected to the folk revival. The last section of the book is titled ‘Material Culture’ and consists of two essays. Chloe Metcalf asks ‘Why do Morris Dancers Wear White? She tries to answer the question in a subtle way using what she calls ‘pragmatic analysis’ and rejecting ‘universal’ colour symbolism. She presents a good discussion that emphasizes the thought and care that many morris dancers took over their presentation and deals in an effectively critical way with older explanations of dancers’ costumes. In the final essay, David Petts concerns himself with questions of artefact preservation and memorialization. Here the UNESCO notions of tangible and intangible heritage are used to discuss the representation of morris paraphernalia in museums and ‘the creation of formal patterns of commemoration of morris within both urban and rural landscapes’ (347), particularly the placing of plaques and naming of roads. There is a sort of sadness to this highly focussed essay. As Petts remarks ‘. . .the ultimate expression of these traditions is in the transient and passing moment of performance itself’ (332). Does one need to memorialize that which is living and flourishing, or does the act mark a stage which has been passed through? The difference between a plaque on the wall and the excitement of a live performance by a morris team seems so different in essence, so large, that the gap between them can hardly be thought. All in all this is a satisfying vo
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Pub Date : 2019-01-02DOI: 10.1080/04308778.2019.1599215
J. Roper
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Pub Date : 2018-07-03DOI: 10.1080/04308778.2018.1507141
S. Desrosiers
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Pub Date : 2018-07-03DOI: 10.1080/04308778.2018.1507143
Claus Kropp
Much as curators and University scholars follow differing trajectories here in the United Kingdom, for our American counterparts, public history has developed powerfully and in parallel with its academic counterpart. This is a book that bridges these different spheres successfully and in so doing offers a subtle commentary on the importance of placing critical thinking and historical method at the heart of public interpretation and understanding. Agriculture, as Reid and her fellow authors so eloquently articulate, was once omnipresent and obvious. It has slipped out of our common lexicon and become the province of a specialized few. Like the warts and all storytelling of Wilder’s Farmer Boy, complete with its own situated and inherent bias and bigotry, Interpreting Agriculture is a subtle manifesto for the power of things now forgotten, for the durability of evidence of the once pervasive character of farming culture and life, for its potent nostalgic value, and for the myriad different ways that such heritage might be mobilized to address issues in the present-day. This is a volume that sets up a whole series of enormous questions and challenges that we must all face up to, most notably concerning the legacies of colonialism, land grabbing, a disenfranchised labour force, and the rise and impact of agribusiness. I only hope that Reid and her peers are working on a follow-up volume that sets ‘plow’ against ‘plough’ and situates some of these complex debates on a wider international stage. Also, I can now finish reading Farmer Boy with a far clearer, richer, and more specific contextual understanding of these agricultural pasts and of what value they may hold for me, for my son, and for future generations.
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Pub Date : 2018-07-03DOI: 10.1080/04308778.2018.1502408
Ernst van der Wal
ABSTRACT This article investigates the conflicted relationship that exists between practices of memorial commemoration and contemporary calls for the decolonization of public space. Drawing on the example of the Rhodes Must Fall movement that originated in Cape Town, South Africa, this article demonstrates how the spatiality of commemoration is affected by decolonizing interrogations of memorial structures. Within a postcolonial context, commemorations of Cecil John Rhodes (1853–1902), the iconic British businessman and politician who was well known for his race-based prejudices and who played such an important role in the history of South Africa, have become sites where lingering colonial and racist discourses are unearthed and explored. As such, the practices and spaces of memorialization have come under severe criticism for the distorted historical narratives they have long upheld. This article demonstrates how decolonizing practices and ideologies affect public perceptions of those commemorative structures that have long served to memorialize Rhodes.
摘要:本文探讨了纪念实践与当代公共空间非殖民化诉求之间的冲突关系。本文以起源于南非开普敦的罗德必须垮台运动为例，展示了纪念建筑的非殖民化审讯如何影响纪念的空间性。塞西尔·约翰·罗兹(Cecil John Rhodes, 1853-1902)是一位标志性的英国商人和政治家，因其种族偏见而闻名，他在南非历史上发挥了如此重要的作用。在后殖民时代的背景下，对他的纪念活动已经成为发掘和探索挥之不去的殖民和种族主义话语的场所。因此，纪念的做法和空间因其长期坚持的扭曲的历史叙述而受到严厉的批评。这篇文章展示了非殖民化的实践和意识形态是如何影响公众对那些长期用来纪念罗兹的纪念建筑的看法的。
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Pub Date : 2018-07-03DOI: 10.1080/04308778.2018.1502401
Alexandria Carrico
ABSTRACT In 1944, George Stinney Jr., an African American boy, aged fourteen, was falsely accused of rape and murder; he became the youngest person to be executed in the United States. Seventy years later, Frances Pollock’s opera, Stinney: an American Execution, premiered in Baltimore, Maryland. This article explores how Stinney exposes ongoing issues of race and gender inequality in the United States. Drawing upon ethnographic interviews, I investigate the opera’s collaborative creation process, complex reception, and collective impact. I argue that Stinney serves as a work of musical activism by bringing the marginalized cultural experiences of African Americans, and women of colour specifically, to the fore. Ultimately, Stinney provides an opportunity for diverse audiences to engage in discussions about how we as a society can address injustice and enact social change.
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