"Rachel Bryant Davies and Erin Johnson-Williams lead a cast of renowned scholars to initiate an interdisciplinary conversation about the mechanisms of power that have shaped the nineteenth-century archive, to ask: What is a nineteenth-century archive, broadly defined? This landmark collection of essays will broach critical and topical questions about how the complex discourses of power involved in constructions of the nineteenth-century archive have impacted, and continue to impact, constructions of knowledge across disciplinary boundaries, and beyond academic confines. The essays, written from a range of disciplinary perspectives, grapple with urgent problems of how to deal with potentially sensitive nineteenth-century archival items, both within academic scholarship and in present-day public-facing institutions, which often reflect erotic, colonial and imperial, racist, sexist, violent, or elitist ideologies. Each contribution grapples with these questions from a range of perspectives: Musicology, Classics, English, History, Visual Culture, and Museums and Archives. The result is far-reaching historical excavation of archival experiences."--

Rachel Bryant Davies and Erin Johnson-Williams lead a cast of renowned scholars to initiate an interdisciplinary conversation about the mechanisms of power that have shaped the nineteenth-century archive, to ask: What is a nineteenth-century archive, broadly defined? This landmark collection of essays will broach critical and topical questions about how the complex discourses of power involved in constructions of the nineteenth-century archive have impacted, and continue to impact, constructions of knowledge across disciplinary boundaries, and beyond academic confines. The essays, written from a range of disciplinary perspectives, grapple with urgent problems of how to deal with potentially sensitive nineteenth-century archival items, both within academic scholarship and in present-day public-facing institutions, which often reflect erotic, colonial and imperial, racist, sexist, violent, or elitist ideologies. Each contribution grapples with these questions from a range of perspectives: Musicology, Classics, English, History, Visual Culture, and Museums and Archives. The result is far-reaching historical excavation of archival experiences.

Rachel Bryant Davies and Erin Johnson-Williams lead a cast of renowned scholars to initiate an interdisciplinary conversation about the mechanisms of power that have shaped the nineteenth-century archive, to ask: What is a nineteenth-century archive, broadly defined? This landmark collection of essays will broach critical and topical questions about how the complex discourses of power involved in constructions of the nineteenth-century archive have impacted, and continue to impact, constructions of knowledge across disciplinary boundaries, and beyond academic confines. The essays, written from a range of disciplinary perspectives, grapple with urgent problems of how to deal with potentially sensitive nineteenth-century archival items, both within academic scholarship and in present-day public-facing institutions, which often reflect erotic, colonial and imperial, racist, sexist, violent, or elitist ideologies. Each contribution grapples with these questions from a range of perspectives: Musicology, Classics, English, History, Visual Culture, and Museums and Archives. The result is far-reaching historical excavation of archival experiences.

This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural history.

The Routledge Handbook of African Theatre and Performance brings together the very latest international research on the performing arts across the continent and the diaspora into one expansive and wide-ranging collection. The book offers readers a compelling journey through the different ideas, people and practices that have shaped African theatre and performance, from pre-colonial and colonial times, right through to the 20th and early 21st centuries. Resolutely Pan-African and inter- national in its coverage, the book draws on the expertise of a wide range of Africanist scholars, and also showcases the voices of performers and theatre practitioners working on the cutting-edge of African theatre and performance practice. Contributors aim to answer some of the big questions about the content (nature, form) and context (processes, practice) of theatre, whilst also painting a pluralistic and complex picture of the diversity of cultural, political and artistic exigencies across the continent. Covering a broad range of themes including postcolonialism, transnationalism, interculturalism, Afropolitanism, development and the diaspora, the handbook concludes by projecting possible future directions for African theatre and performance as we continue to advance into the 21st century and beyond. This ground-breaking new handbook will be essential reading for students and researchers studying theatre and performance practices across Africa and the diaspora. Kene Igweonu is Professor of Creative Education at University of the Arts London, where he is also Pro Vice-Chancellor and Head of London College of Communication. An interdisciplinary researcher, Professor Igweonu has extensive experience of senior academic leadership in immersive and interactive practices and performance practice. His practice research and publication interests are in storytelling, theatre, and performance in Africa and its Diaspora, as well as the Feldenkrais Method in health, wellbeing, and performance training. A champion for arts and creative industries, Professor Igweonu is Chair of DramaHE, Council Member for Creative UK, and until August 2023, President of the African Theatre Association.

Hymns and Constructions of Race: Mobility, Agency, De/Coloniality examines how the hymn, historically and today, has reinforced, negotiated, and resisted constructions of race. It brings together diverse perspectives from musicology, ethnomusicology, theology, anthropology, performance studies, history, and postcolonial scholarship to show how the hymn has perpetuated, generated, and challenged racial identities. The global range of contributors cover a variety of historical and geographical contexts, with case studies from China and Brazil to Suriname and South Africa. They explore the hymn as a product of imperialism and settler colonialism and as a vehicle for sonic oppression and/or resistance, within and beyond congregational settings. The volume contends that the lived tradition of hymn-singing, with its connections to centuries of global Christian mission, is a particularly apt lens for examining both local and global negotiations of race, power, and identity. It will be relevant for scholars interested in religion, music, race, and postcolonialism.

Women born in mid twentieth-century Britain were the 'welfare state generation' – not only were their lives fundamentally shaped by the welfare state, they helped to transform it. In this ground-breaking work, Eve Worth examines the impact of the welfare state on the life course of women whose opportunities and social experiences were formed by it in the post-1945 period. Centred around an oral history study, this book argues that the welfare state was so central to the lives of women born in Britain between the late 1930s and early 1950s that they should be considered the 'welfare state generation'. The post-war expansion of the welfare state was one of the most transformative political changes of the twentieth century, yet we know little about its development in practice, nor its long-term impact on those who grew up within it. Using a ground-breaking life history methodology to examine women from their birth in the long 1940s to retirement in the mid-2010s, it includes thirty-six original life history interviews alongside social surveys and the Census for wider context By deploying a cross-class approach, this book moves the discussion on from just looking at university-educated women, to include women often overlooked in gender and social studies. Re-conceptualising the causes of social mobility in post-war Britain, exploring a new understanding of work and an updated periodisation of welfare state development, The Welfare State Generation offers a new approach to the history of class and gender, arguing that we need to move beyond the focus on women's emotions and personal identity, to consider their experiences and relationships with the state as employer, educator and provider.

Family history is one of the most widely practiced forms of public history around the globe, especially in settler migrant nations like Australia and Canada. It empowers millions of researchers, linking the past to the present in powerful ways, transforming individuals' understandings of themselves and the world. This book examines the practice, meanings and impact of undertaking family history research for individuals and society more broadly. In this ground-breaking new book, Tanya Evans shows how family history fosters inter-generational and cross-cultural, religious and ethnic knowledge, how it shapes historical empathy and consciousness and combats social exclusion, producing active citizens. Evans draws on her extensive research on family history, including survey data, oral history interviews and focus groups undertaken with family historians in Australia, England and Canada collected since 2016. Family History, Historical Consciousness and Citizenship reveals that family historians collect and analyse varied historical sources, including oral testimony, archival documents, pictures and objects of material culture. This book reveals how people are thinking historically outside academia, what historical skills they are using to produce historical knowledge, what knowledge is being produced and what impact that can have on them, their communities and scholars. The result is a necessary revival of the current perceptions of family history.

"The Oxford Handbook of Community Singing shows in abundant detail that singing with others is thriving. Using an array of interdisciplinary methods, chapter authors prioritize participation rather than performance and provide finely grained accounts of group singing in community, music therapy, religious, and music education settings. Themes associated with protest, incarceration, nation, hymnody, group bonding, identity, and inclusivity infuse the 47 chapters. Written almost wholly during the 2020-21 COVID-19 pandemic, the Handbook features a section dedicated to collective singing facilitated by audiovisual or communications media (mediated singing), some of it quarantine-mandated. The last of eight substantial sections is a repository of new theories about how group singing practices work. Throughout, the authors problematize the limitations inherited from the western European choral music tradition and report on workable new remedies to counter those constraints"--

Erotic Resistance celebrates the erotic performance cultures that have shaped San Francisco. It preserves the memory of the city's bohemian past and its essential role in the development of American adult entertainment by highlighting the contributions of women of color, queer women, and trans women who were instrumental in the city's labor history, as well as its LGBT and sex workers' rights movements. In the 1960s, topless entertainment became legal in the city for the first time in the US, though cross-dressing continued to be criminalized. In the 1990s, stripper-artist-activists led the first successful class action lawsuits and efforts to unionize. Gigi Otálvaro-Hormillosa uses visual and performance analysis, historiography, and ethnographic research, including participant observation as both performer and spectator and interviews with legendary burlesquers and strippers, to share this remarkable story.