A Model for Historical Reflection in the Humanitarian Sector

. Equally significantly, they grew in tandem with a rich vein of historical research. Michael Barnett’s Empire of Humanity (2011) broke new ground, and it was followed by diverse new histories of humanitarianism, the development of new partnerships between NGOs and the writing of new histories of humanitarianism in places like Exeter, Galway, Geneva, London, Mainz, Manchester, Milan, Oslo, Ottawa and Sheffield. The result was a growing conversation about humanitarianism’s past and its

Journal of Humanitarian Affairs
The punk and post-punk worlds of Manchester, London, Liverpool and Sheffield, 1975–80

This book argues that punk and post-punk, whatever their respective internal stylistic heterogeneity, enjoyed 'sociological reality' in Samuel Gilmore's and Howard Becker's sense. It elaborates the concept of 'music worlds', contrasting it with alternatives from the sociological literature. In particular it contrasts it with the concepts 'subculture', 'scene' and 'field'. The book then outlines a number of concepts which allow us to explore the localised process in which punk took shape in a sociologically rigorous manner. In particular it discusses the concepts of 'critical mass' and 'social networks'. The book also applies these concepts to the London punk world of 1976. It considers how talk about punk migrated from face-to-face networks to mass media networks and the effects of that shift. Continuing the discussion of punk's diffusion and growth, the book considers how punk worlds took shape in Liverpool, Manchester and Sheffield. In addition, however, the book offers a more technical analysis of the network structures of the post-punk worlds of the three cities. Furthermore, extending this analysis, and combining qualitative and quantitative forms of analysis, the book considers how activities in different local post-punk worlds were themselves linked in a network, constituting a national post-punk world.

Politics and reputation in 1980s Sheffield

8 ‘You have to start where you’re at’ Politics and reputation in 1980s Sheffield Daisy Payling In 1981 Sheffield City Council’s May Day celebrations splashed onto the front page of the Sheffield Star under the headline: ‘Uproar … as the red flag flies from Town Hall’.1 The flag, hoisted to celebrate International Labour Day, was taken by some as a sign of allegiance to the Soviet Union. Protestors draped a coffin with the Union Jack and brandished placards reading ‘Better Dead Than Red’.2 Five days later, the Sheffield Star published letters calling for the

in Waiting for the revolution
Britain 1876–1953

Music played a major role in the life of a global ideological phenomenon like the British Empire. This book demonstrates that music has to be recognised as one of the central characteristics of the cultural imperialism of the late nineteenth and early twentieth centuries. It begins with an account of the imperial music of Sir Edward Elgar and Sir Arthur Sullivan and the establishing of an imperial musical idiom. The book discusses the music composed for or utilized by official occasions: coronations, jubilees, exhibitions, tattoos, Armistice Day and Empire Day. Community singing was also introduced at the Aldershot Military Tattoo in 1927, sponsored by the Daily Express. The book examines the imperial content of a range of musical forms: operetta and ballet, films, music hall songs, ballads, hymns and marches. In one of the scenes depicting ballet, Indian dancing girls are ordered to reveal the riches of the land and the Ballet of Jewels. There were two staples of song in the second half of the nineteenth century: the drawing-room ballad and the music-hall song. Sir Henry Coward was Britain's leading chorus-master, and his 1911 musical world tour with Sheffield choir was the high point of his career. The book concludes with a discussion of practitioners of imperial music: the divas Emma Albani, Nellie Melba and Clara Butt, and the baritone Peter Dawson.

A tale of three cities

were unsure where their musical experiments were headed but by 164 Networks of sound, style and subversion playing with the punk format and introducing elements and influences from elsewhere they began to move beyond it. They were joined by others who had only ever been inspired by punk’s DIY ethos and the opportunities it created, never its style. Despite the existence of a lively punk world (Beesley 2009, 2010a, 2010b), many of Sheffield’s post-punk bands exemplify this second relation to punk. Cabaret Voltaire, for example, pre-date the Sex Pistols and

in Networks of sound, style and subversion
The dominions’ musical tour of 1911

Coward was born in Liverpool, the only son of Henry Coward, a Sheffield-born cutler ‘with a bent towards music’ who became a banjoist and ‘nigger minstrel’, and his wife the singer Harriet Carr. They toured for several years performing and then took over the Shakespeare Hotel, Williamson Square, Liverpool, where Henry was born. On his father’s death when Henry was only 8, Harriet returned to

in Imperialism and music

cities. Local government remained the central agent for reform. Each acted independently. Local authorities produced their own policies and managed their own houses.20 Central government acted as a good guide, but it did not have the administrative machinery to implement a monolithic policy across the country. Only the local authorities could perform this task. Each had its own discourse and each reacted to the specific problems in its own locale. Studies of Sheffield and Bristol in the inter-war period underline the influence of specific local conditions on housing

in The politics of housing
Abstract only
Post-punk worlds as networks

9 Joining the dots: post-punk worlds as networks In the previous chapter I introduced the post-punk worlds of Manchester, Liverpool and Sheffield, as they were in the final years of the 1970s, and I offered a preliminary analysis of them. In the present chapter I develop this analysis by way of an examination of their formal network properties (most of whose definitions were introduced in earlier chapters, especially Chapters 1 and 5). The analysis is motivated by a number of key concerns. First, I want to see how well my earlier arguments regarding the

in Networks of sound, style and subversion
Service and salvage

7 Ruskin, women and museums: service and salvage I n the obituary of Henry Swan, curator of St George’s Museum, Sheffield, in the Sheffield Independent in 1889, it was said that Mr Swan, ‘in connection with Mrs Swan and the whole of his family, strove to bring home to Sheffield … helpfulness, beauty, and joy in life, which are the great principles in Mr Ruskin’s life and writings’.1 The prominence of Mrs Emily Swan in the running of the museum was such that Ruskin himself described her as the ‘Curatress’. She was not alone; women were particularly prominent

in Women and Museums, 1850–1914

across Britain during the winter of 1792–3. In northern England, loyal addresses were drawn up and signed in guild halls (York, Sheffield, Congleton); town halls (Macclesfield, Ripon, Wigan, Halifax, Carlisle, Lancaster); moot halls (Leeds, Wakefield); court houses and sessions rooms (Salford, Knaresborough); grammar schools (Rochdale, Bolton); assembly rooms (Warrington); parish churches (St Helens, Bradford) and chapels in smaller places (for example, Lydgate in Saddleworth, nestled in the hills on the Lancashire-­ Yorkshire border).2 This huge effort of gathering

in Protest and the politics of space and place, 1789–1848