Abstract only
Politics, Pageantry and Colonialism

Royal tours of the 1800s and early 1900s, and since, have created much documentation, perhaps the most obvious record contained in newspapers and magazines, newsreels and then radio and television broadcasts. Tours expressed and promoted royal and imperial authority, though in some instances they revealed resistance against expansionist designs. The royal visitor was the central actor in a tour, but was surrounded by an entourage of other people and a store of paraphernalia that played essential roles. This book examines how presentation is managed when ambassadors are sent in place of the royal personage. Sultan Alauddin of Aceh mounted a royal tour by proxy in which he was embodied - and concealed - in his gifts and in the humbler persons of his placeholders. Prince Alfred Ernest Albert, Duke of Edinburgh, provided a template for later royal tours in three ways. First, he pioneered a new relationship with the Royal Navy as a training institution for British princes. Second, his lengthy visits paved the way for similarly ambitious global tours. Alfred's tours cultivated a range of trusted support staff. Imperial citizenship and even Britishness were embraced by non- English and non- British subjects of the queen. One young prince who was present in Britain at some of the most glittering events was Thakur Sahib Bhagvatsinh, a Rajput who ruled Gondal. The book also discusses Kaiser Wilhelm II's tour, King Sisowath and Emperor Khai Dinh's tour to France, the Portuguese crown prince's tour of Africa, and tours during Smuts's Raj.

Prince Alfred’s precedent in overseas British royal tours, c. 1860– 1925

with the Royal Navy as a training institution for British princes and a source of royal mentors and companions. Second, his lengthy visits to Britain’s southern settler colonies as well as India paved the way for similarly ambitious global tours. Finally, Alfred’s tours cultivated a range of trusted support staff (from governors, tutors and chaplains to physicians and local guides, artists, equerries, bodyguards and personal

in Royals on tour
Abstract only
Street photography, humanism and the loss of innocence

printed page being replicated in the innovative display of images, many of which were suspended from the ceiling or arranged in three-​dimensional configurations (Szarkowski 1994: 13). Described as being designed ‘as an architectural as much as a pictorial experience’ by Steichen’s successor as director of the Department of Photography at MoMA, John Szarkowski, between 1955 and 1962 the exhibition was toured in a number of different versions across thirty-​eight countries by the United States Information Agency. The globally toured exhibition was visited by an estimated

in Tracing the cultural legacy of Irish Catholicism
Robert Lepage’s Coriolan

to Shakespeare’s authoritative original, whether they understood Garneau to have respected the text or to have flattened the complexities of narrative and character ( Le Soleil 31 May 1993; Voir 10 June 1993). However, Québécois reaction suggests that the set of relations amongst national concerns, global touring and Shakespeare’s traditional stature produced a variety of local perspectives

in Coriolanus
Abstract only
Prince Alfred, Queen Victoria and Melbourne, 1867–68

look beyond the mostly triumphal colonial press accounts as well as the largely deferential official tour volumes to track the responses of both individual colonists and groups. 5 Indeed, we know much more about private responses to Alfred in Victoria than perhaps anywhere else he visited on his global tour. This chapter explores a range of accounts to provide a fuller

in Crowns and colonies
Procurement networks and the purpose of a museum

distinctiveness not suggested by any other arrangement’. 20 This curatorial approach was popular with patrons because it grounded the museum in a geographical arrangement that imitated a global tour. Although popular, this method of display aimed to educate audiences in ‘geographic distribution’, ‘classification’ and how the ‘structure of animals [was] due to their surroundings, climate etc.’. Through his exhibits McCoy adjusted a scholarly argument for popular consumption. McCoy procured specimens from all geographic regions

in Curating empire

, the production was intended to be accessible in various European festivals and on global tours. The adaptation is dramaturgically crafted around the casting of a single actor, Adam Ferency, in the roles of Lear, Shylock and Othello in the interweaving and intertextual editing of the three plays. Originally billed as Trylogia wykluczonych (Trilogy of Exclusion), the title was later amended to The African Tales by Shakespeare, which prompted the critic Aleksander Pyrkosz to ask, ‘Where is Africa?’ Warlikowski claimed that the ‘Africa’ in his production was as abstract

in After ’89
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr

Tsarist Russia. Starr as heroine opts to obtain the prostitute’s ‘yellow ticket’ as affording her more civil rights than those which Jews enjoyed. Despite its scandalous prostitute thematic, wartime governmental panics about venereal disease among the troops ensured the play lively attention and even official endorsement. Starr preferred the ‘gypsy life’ of constant global touring in flexible repertoire, for which reason she had agreed to the Firm’s engagement in Emotional and natural ­181 22  Hal Gye sketch of Muriel Starr in The Chorus Lady, from the Bulletin

in Stage women, 1900–50

Cindy McCreery shows here in her chapter on the global tour of Prince Alfred in the 1860s, one of the first examples of such an imperial royal progress. Napoleon III twice went to Algeria (in 1860 and 1865); the first Belgian royal, Prince (later King) Albert visited the Congo in 1909; and the Italian King, Vittorio Emanuele III, visited Somalia in 1934 and Libya in 1938. 39 The British tours

in Crowns and colonies

focused on Australia, but quickly incorporated a Canadian invitation, he imagined a much larger global tour of empire. Chamberlain conceived of the tour as an opportunity to thank the colonies for their service in the South African War and to forward his own ideas about imperial unity. Prince George was very enthusiastic about the prospect of this trip and corresponded frequently with the Colonial

in Royal tourists, colonial subjects and the making of a British world, 1860–1911