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Gerry Smyth

5 Popular music and the Celtic Tiger Gerry Smyth Sing when you’re winning On 14 June 2012, the Republic of Ireland soccer team was comprehensively beaten 4–0 at the UEFA Euro Football Championships by the eventual winners, Spain. During an on-­the-­pitch post-­match interview for the UK’s ITV network, the Irish midfielder Keith Andrews praised the quality of the opposition as well as the ‘brilliant’ support of the Irish fans, who continued en masse to sing ‘The Fields of Athenry’ throughout the final minutes of the match. Coverage then returned to the studio

in From prosperity to austerity
A society in transition

In the last generation, Northern Ireland has undergone a tortuous yet remarkable process of social and political change. This book explores what Northern Ireland was like during violent conflict, and whether the situation is any different 'after the troubles'. It examines the political developments and divisions essential to a critical understanding of the nature of Northern Irish society. The book focuses a number of elements of popular cultural practice that are often overlooked when social scientists address Northern Ireland. Sport plays an important though often dispiriting role that in Northern Irish society. It looks at some of the problems and ways forward for transitional justice and memory work in Northern Ireland. The book reviews the history of strategic spatial policy in post-partition Northern Ireland. It draws on feminist scholarship to expose how explanations of the ethnic conflict that ignore gender are always partial. The book illustrates how feminist and gender politics are part of the political culture of Northern Ireland and offers conceptual resources to academics engaged in investigating the conflict. It further provides a brief outline of critical race theory (CRT) and the critique of whiteness therein before using it as a basis from which to examine the research literature on racism in Northern Ireland. The course that popular music has taken in Northern Ireland during 1990s of the peace process, is also considered and the most crucial issues of the peace process, police reform, are examined.

Essays to celebrate the life and work of Chris Wrigley

This book reflects upon the wide range of Chris Wrigley's research and publications in the study of the various aspects of British labour history. It presents a set of themes revolving around the British labour movement and the lives of those connected with it. The book begins with a discussion on biography in the shape of George Howell's work on trade unions and presents Herbert Gladstone's view that the unions emerged from the medieval workers guilds. Chris was also interested in political figures connected with progressivism and the labour movement, which is reflected in the examination of Gladstone's role in the Liberal Party. There is an examination of the Co-operative Party in the north-east of England, the 1911 National Insurance Act, and the relationship between the unions and the Labour Party. The inter-war British labour politics is covered by the disaffiliation of the Independent Labour Party (ILP) from the Labour Party and by a study of the Progressive League. British and German working class lives are compared in the late nineteenth and early twentieth centuries. Female trade unionism is dealt with a focus on Association of Women Clerks and Secretaries (AWCS). The contribution of the Lansburys is brought by an essay on the role of the family members in working-class politics, including women's enfranchisement. The book also deals with the attempt by the Communist Party of Great Britain (CPGB) to engage with punk music, and ends with a discussion on the theme of Labour disunity.

Open Access (free)
In the beginning was song
Mads Qvortrup

6 Epilogue: in the beginning was song And the light shineth in the darkness; and the darkness comprehended it not. (John 1.5) We have (rather deliberately) said very little about the subject of music, as this is not obviously a part of Rousseau’s social philosophy. Yet music was – though scholars have often forgotten this1 – Rousseau’s main passion, and this passion spilled over into his political writings in more ways than one. Rousseau, the musician and note-copier, was an accidental philosopher. Had he not seen the prize question from the Academy in Dijon on

in The political philosophy of Jean-Jacques Rousseau
Popular music
Sean Campbell and Gerry Smyth

M1426 - COULTER TEXT.qxp:GRAHAM Q7 17/7/08 08:02 Page 232 12 From shellshock rock to ceasefire sounds: popular music Sean Campbell and Gerry Smyth In recent years a number of authors have sought to establish popular music as an important element within the Irish critical imagination. They have done so because among the many achievements of international popular music studies has been an appreciation that this kind of cultural practice provides one of the key means for subjects to understand the world and themselves in relation to it. As Martin Stokes

in Northern Ireland after the troubles
Isadora Duncan’s danced revolution
Dana Mills

of intervention upon her students’ bodies; those bodies in turn inscribe this moment of dissent through galvanising the solar plexus to create a focal point in the shared embodied space they unravel. When Isadora Duncan claimed she never danced a solo it is because her body was always aimed at an Other –​student or spectator; it was galvanised to share her embodied space. Let us now contract once again into Duncan’s space of intervention: her dancing body. Musical Moment (circa 1907) Music: Franz Schubert, Moment Musicale, D. 780, Op. 94, No. 3 (www

in Dance and politics
Gumboot dance in South Africa
Dana Mills

or hit their boots. The concept of body music becomes clear through their performance. The dancers’ posture directly embodies mining actions. Thus the primary  –​and perhaps focal  –​characteristic to be noted is the use of space in a dual way: first, the dancers are in a long line (they are all equal to each other in this line); and second, they are mostly bent, subsumed. The spatial demarcation that placed them in the mines is repeated within the choreographic language itself. The dancers’ body language shows their acceptance of someone else organising their

in Dance and politics
One Billion Rising, dance and gendered violence
Dana Mills

intervention in space. Dance plays a central role in the book’s discussion of those parallel and interlinked processes. Ensler writes:  ‘Love isn’t something else, something rising and surprising. It isn’t aware of itself. It isn’t keeping track. It isn’t something you sign for. It’s endless and generous and enveloping. It’s in the drums, in the voices, in the bodies of the wounded made suddenly whole, by the music, by each other, dancing’ (Ensler 2013a: 169). Dance for Ensler is a singular process through which the body can be made whole; dance aids through surprising

in Dance and politics
Martha Graham, dance and politics
Dana Mills

. (Horosko 2002:48) Following Graham’s writing and this forceful statement, I shift the focus from the narration of choreography to the choreography itself; I  shift the focus to the interpretation of dance as a world, or the strong reading of political dance. I invite the reader–​spectator to join the moment that Graham unleashed her danced revolution into the world, in one of the first works that exemplify her movement language, Lamentation. Lamentation (1930) Music: Zoltán Kodály (​watch?v=xgf3xgbKYko) Janet Eilber, former principal dancer in Graham

in Dance and politics
Open Access (free)
Dana Mills

their feet while walking on the roof in order to adjust the mud. (Aken 2006: 221 n. 5) The sources of the rhythmic nature of the dance, then, are both referential and practical; they relate to a commonly shared experience from the past, but sustain physically that element of participatory openness, of a line that is meant to grow longer. Its use of body music is similar to that employed in gumboot dance, discussed in Chapter 4. In both these dances clapping and stomping allow more dancers to join the dance, and hence allow its shared space (and consequently its

in Dance and politics