scholarly journals Om Claude Marchant: Ett historiografiskt bidrag till svart danshistoria i Sverige

2021 ◽  
Vol 12 (1) ◽  
pp. 4-21
Author(s):  
Astrid von Rosen
Keyword(s):  
Processes Of Change ◽  
Black Dance ◽  
Black Artists ◽  
The Us ◽  
The 1960S

Abstract In this article, the concept of «black dance» is used as a critical tool to explore the lifelong dance achievements of the black dancer, choreographer and pedagogue Claude Marchant (1919–2004) in relation to history making. Marchant’s history in the US and to some extent in Europe from the 1930s to the 1960s is mapped and analysed, with the aim of better understanding his work in Sweden, and more specifically in Gothenburg. While Marchant is mentioned in previous dance historiographies, there are no in-depth explorations of his life and work. This exploration, therefore, complements both Swedish and international dance research, with an example that problematises history production in relation to black artists such as Marchant. It is argued that a participatory «dance-where-we-dig» method is a useful tool for instigating locally situated historiographical processes of change, and can relate artists such as Marchant to broader, transnational contexts.

The Liberalizers: Justifying Free-Market Finance

2018 ◽  
Author(s):  
Louçã Francisco ◽  
Ash Michael
Keyword(s):  
Public Discourse ◽  
Free Market ◽  
Second World War ◽  
Economic Regulation ◽  
Developed Economies ◽  
The Us ◽  
The 1960S ◽  
The Uk ◽  
Second World ◽  
The New Deal

Chapter 5 traces how free market ideology displaced the apparent consensus on economic regulation that emerged from the Depression, the New Deal, and the Second World War. Viewed as cranks within economics through the 1960s, Milton Friedman and his supporters built an apparatus of ideas, publications, students, think tanks, and rich supporters, establishing outposts in Latin America and the UK. When developed economies faltered in the 1970s, Friedman’s neoliberal doctrine was ready. With citizens, consumers, and workers feeling worked over by monopolies, inflation, unemployment, and taxes, these strange bedfellows elected Reagan in the US and Thatcher in the UK and rolled to power in academia and in public discourse with a doctrine of privatization, liberalization, and deregulation. Friedman, Eugene Fama, and James Buchanan whose radical free market views triumphed at the end of the 1970s are profiled. A technical appendix, “Skeptics and Critics vs. True Believers” explores the economic debates.

The Historiography of Environmental History

2018 ◽  
Author(s):  
J. R. McNeill
Keyword(s):  
Climate Change ◽  
Environmental History ◽  
Industrial Pollution ◽  
Full Scale ◽  
Environmental Concerns ◽  
The Us ◽  
The World ◽  
History Of ◽  
The 1960S ◽  
The Relationship

This chapter discusses the emergence of environmental history, which developed in the context of the environmental concerns that began in the 1960s with worries about local industrial pollution, but which has since evolved into a full-scale global crisis of climate change. Environmental history is ‘the history of the relationship between human societies and the rest of nature’. It includes three chief areas of inquiry: the study of material environmental history, political and policy-related environmental history, and a form of environmental history which concerns what humans have thought, believed, written, and more rarely, painted, sculpted, sung, or danced that deals with the relationship between society and nature. Since 1980, environmental history has come to flourish in many corners of the world, and scholars everywhere have found models, approaches, and perspectives rather different from those developed for the US context.

Innovationsmotor Medientechnik – Von der Schreibmaschine zur «Mittleren Datentechnik» bei der Siemag Feinmechanische Werke (1950 bis 1969)

2021 ◽  
Vol 66 (1) ◽  
pp. 93-117
Author(s):  
Christian Henrich-Franke
Keyword(s):  
Data Processing ◽  
New Technologies ◽  
Strategic Decisions ◽  
Adverse Conditions ◽  
Family Enterprise ◽  
The Us ◽  
Innovative Products ◽  
The Face ◽  
The Media ◽  
The 1960S

Abstract The second half of the 20th century is commonly considered to be a time in which German companies lost their innovative strength, while promising new technologies presented an enormous potential for innovation in the US. The fact that German companies were quite successful in the production of medium data technology and had considerable influence on the development of electronic data processing was neglected by business and media historians alike until now. The article analyses the Siemag Feinmechanische Werke (Eiserfeld) as one of the most important producers of the predecessors to said medium data technologies in the 1950s and 1960s. Two transformation processes regarding the media – from mechanic to semiconductor and from semiconductor to all-electronic technology – are highlighted in particular. It poses the question of how and why a middling family enterprise such as Siemag was able to rise to being the leading provider for medium data processing office computers despite lacking expertise in the field of electrical engineering while also facing difficult location conditions. The article shows that Siemag successfully turned from its roots in heavy industry towards the production of innovative high technology devices. This development stems from the company’s strategic decisions. As long as their products were not mass-produced, a medium-sized family business like Siemag could hold its own on the market through clever decision-making which relied on flexible specialization, targeted license and patent cooperation as well as innovative products, even in the face of adverse conditions. Only in the second half of the 1960s, as profit margins dropped due to increasing sales figures and office machines had finally transformed into office computers, Siemag was forced to enter cooperation with Philips in order to broaden its spectrum and merge the production site in Eiserfeld into a larger business complex.

scholarly journals Dirty tricks on the underground press

1981 ◽  
Vol 10 (2) ◽  
pp. 47-50
Author(s):  
Geoffrey Rips
Keyword(s):  
Vietnam War ◽  
The United States ◽  
Freedom Of Information ◽  
Underground Press ◽  
General Terms ◽  
The Us ◽  
Psychedelic Drugs ◽  
Us Constitution ◽  
The Vietnam War ◽  
The 1960S

What was known in the United States as the ‘underground press’ – self-published newspapers of the youth counterculture sold at street corners and around campuses in American cities during the 1960s and early 70 s – was once a significant network estimated at over 400 publications. Their hallmark was opposition to US involvement in the Vietnam War, criticism of the authorities, of uncontrolled technology and big business, advocacy of sexual freedom and artistic experimentation and, frequently, the advocacy of marijuana, LSD and other psychedelic drugs. Few of these publications have survived the past ten years, and their disappearance has been variously attributed to the cooling of radical interest after the American withdrawal from Vietnam, as well as to the vague and shifting nature of the ‘hippie’ scene. Complaints by their publishers during the early and mid-seventies that printers refused their business, that office rents suddenly doubled, that advertising was cancelled, that papers were lost – these were seen as local accidents and were rarely reported by the established media. Claims of official or officially-sanctioned harassment were dismissed – even by fellow radicals – as paranoid. Recent research by Geoffrey Rips of the PEN American Center has revealed the extent and variety of official pressure exerted against alternative publications during the Vietnam War period. Using evidence from government hearings like the Church Committee, which reported in 1976, actual FBI documents released to American PEN under the Freedom of Information Act, and other sources, Mr Rips argues that such harassment contributed materially to the closure of certain publications and in general terms constituted a gross infringement on the protection afforded to dissenting opinion and to a free press under the US constitution. We publish edited extracts here from Geoffrey Rips' report which will be published in full by the PEN American Center and the City Lights Press.

Changes in the US Gender Gap in Wages in the 1960s

2021 ◽  
Vol 111 ◽  
pp. 143-148
Author(s):  
Martha J. Bailey ◽  
Thomas Helgerman ◽  
Bryan A. Stuart
Keyword(s):  
Civil Rights ◽  
Gender Gap ◽  
Labor Standards ◽  
Equal Pay ◽  
The Us ◽  
Fair Labor Standards Act ◽  
Women's Wages ◽  
The Mean ◽  
Equal Pay Act ◽  
The 1960S

The 1960s witnessed landmark legislation that aimed to increase women's wages, including the Equal Pay Act of 1963, Title VII of the Civil Rights Act, and the 1966 amendments to the Fair Labor Standards Act. Although the gender gap in pay changed little at the mean/median during the decade, our distributional analysis shows that women's wages converged sharply on men's below but diverged above the median. However, the bulk of women's relative pay gains are not explained by changes in observed attributes. Our findings suggest an important role for legislation in narrowing the gender gap in the 1960s.

Culture and the popular: Introduction to essays in memory of Brian Rigby

2018 ◽  
Vol 29 (4) ◽  
pp. 293-299
Author(s):  
Michael Kelly
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural History ◽  
Rapid Expansion ◽  
Daily Lives ◽  
The Us ◽  
The 1960S ◽  
The Uk ◽  
French Cultural Studies

This article introduces the special number of French Cultural Studies commemorating the role of Brian Rigby as the journal’s first Managing Editor. It situates his contribution in the emergence of cultural history and French cultural studies during the rapid expansion of higher education from the 1960s in France, the UK, the US and other countries. It suggests that these new areas of study saw cultural activities in a broader social context and opened the way to a wider understanding of culture, in which popular culture played an increasingly important part. It argues that the study of popular culture can illuminate some of the most mundane experiences of everyday life, and some of the most challenging. It can also help to understand the rapidly changing cultural environment in which our daily lives are now conducted.

The Americanisation of C. L. R. James

Race & Class ◽  
2018 ◽  
Vol 60 (2) ◽  
pp. 3-20 ◽  
Author(s):  
Jonathan Scott
Keyword(s):  
Cultural Identity ◽  
Global Impact ◽  
Theoretical Approaches ◽  
Wide Range ◽  
Cultural Climate ◽  
The Us ◽  
Political Activist ◽  
The 1960S ◽  
The Individual ◽  
To Receive

The writings of the Black Marxist-Leninist thinker and activist C. L. R. James are now widely known and studied, although most of his long career was passed in obscurity. His two most influential books, The Black Jacobins (1938) and Beyond a Boundary (1963) now have a global impact. But his work did not begin to receive wide recognition until the 1980s and 1990s. And it is the nature of that recognition, and the ends to which his work has been put in the US academy, that this article explores. In critiquing a wide range of influential theoretical approaches to James’ work, the author relates current interpretations of it to the wider political and cultural climate engendered by neoliberalism, with its emphasis on the individual not as a historical agent, but as primarily concerned with self-fashioning and cultural identity. In the process, the article demonstrates how the political activist thrust of James’ analyses and work, and its concerns with imperialism and resistance, has been set aside as part of the corporate world’s continuing appropriation of the ‘alternative and adversarial culture of the 1960s’.

Kuntanshi yamikalile (The Future): speculative nonconformity in the works of Zambian visual artists

2021 ◽  
Author(s):  
◽  
Andrew Mukuka Mulenga
Keyword(s):  
Art History ◽  
Visual Artists ◽  
African Art ◽  
The Past ◽  
The Us ◽  
The Future ◽  
The 1960S ◽  
Scholarly Discourse ◽  
Contemporary African Art ◽  
Freeze Time

In recent years, select African visual artists practising on the continent as well as in its diaspora have increasingly been attracted to themes that explore, portray or grapple with Africa’s future. Along with this increasing popularity of the ‘future’ or indeed ‘African futuristic’ themes by visual artists, such themes have also attracted academic consideration among various scholars, resulting primarily in topics described as ‘African Futurism’ or Afrofuturism. These are topics that may be used to disrupt what some scholars – across disciplines and in various contexts – have highlighted as the persistent presumptive notions that portray Africa as a hinterland (Hassan 1999; Sefa Dei, Hall and Goldin Rosenberg 2000; Simbao 2007; Soyinka-Airewele and Edozie 2010; Moyo 2013; Keita, L. 2014; Green 2014; Serpell 2016). This study makes an effort to critique certain aspects of ‘African Art History’ with regard to the representation of Africa, and raises the following question: How can an analysis of artistic portrayals of ‘the future’ portrayed in the works of select contemporary Zambian artists be used to critique the positioning of Africa as ‘backward’, an occurrence at the intersection of a dualistic framing of tradition versus modern. Furthermore, how can this be used to break down this dichotomy in order to challenge lingering perceptions of African belatedness? The study analyses ways in which this belatedness is challenged by the juxtaposition of traditional, contemporary and futuristic elements by discussing a series of topics and debates associated to African cultures and technology that may be deemed disconnected from the contemporary lived experiences of Africans based on the continent. The study acknowledges that there is no singular ‘African Art History’ that one can talk of and there have been various shifts in how it has been perceived. I argue that while currently the African art history that is written in the West does not simplistically position Africa as backward as it may have done in the past, there appear to be moments of a hangover of this perception (Lamp 1999:4). What started out as a largely Western scholarly discourse of African art history occurred in about the 1950s and the journal African Arts started in the 1960s. Even before contemporary African art became a big thing in the 1990s for the largely US- and Europe-based discourses there were many discussions in the US about how the ‘old’ art history tended to freeze time and that this was not appropriate (Drewal 1991 et al). In order to advance the discourse on contemporary African visual arts I present critical analyses of the select works of Zambian artists to develop interpretations of the broader uses of the aforementioned themes. The evidence that supports the core argument of this research is embedded in the images discussed throughout this dissertation. The artists featured in the study span several decades including artists who were active from the 1960s to the 1980s, such as Henry Tayali and Akwila Simpasa, as well as artists who have been practising since the 1980s, such as Chishimba Chansa and William Miko and those that are more current and have been producing work from the early 1990s and 2000s, such as Zenzele Chulu, Milumbe Haimbe, Stary Mwaba, Isaac Kalambata and Roy Jethro Phiri.

The Energy Crisis

2019 ◽  
pp. 179-215
Author(s):  
Giuliano Garavini
Keyword(s):  
Cultural Context ◽  
Social Climate ◽  
Energy Crisis ◽  
The Political ◽  
Industrialized Countries ◽  
Peak Oil ◽  
Oil Companies ◽  
The Us ◽  
The 1960S ◽  
Rapid Shift

Chapter 4 describes the rapid shift from a “consumer” to a “producer” market at the end of the 1960s. This shift was characterized by the radicalization of the political and social climate in most petrostates, by the emergence “peak” oil production in two crucial producers such as the US and Venezuela, and generally by the passage from the era of “cheap oil” to that of “expensive oil.” The chapter will also explain the cultural context of this passage with the rise of environmentalist movements and criticism towards overconsumption that had characterized the societies in industrialized countries. All of these factors led to the first two major victories of OPEC during the Tehran and Tripoli negotiation with the international oil companies in 1971.

Ainslie, Bill (1934–1989)

2018 ◽  
Author(s):  
Jessica Stephenson
Keyword(s):  
South Africa ◽  
South African ◽  
Eastern Cape ◽  
African Art ◽  
Art Programs ◽  
Non Profit ◽  
Black Artists ◽  
The Social ◽  
1960S And 1970S ◽  
The 1960S

Born in 1934 in Bedford, Eastern Cape, South Africa, William (Bill) Stewart Ainslie was a painter and educator, and the founder of a number of visual art programs and workshops that countered discriminatory racial and educational policies in apartheid-era South Africa. These programs encouraged students to work in abstract and other modernist idioms not practiced in the country at the time. Until his untimely death at age 55, Ainslie melded his career as an artist with his vision of art as a means to combat apartheid. In the 1960s and 1970s, Ainslie fostered the only multiracial art programs in the country, culminating in a formal art school, the non-profit Johannesburg Art Foundation (1982). He helped found the Federated Union of Black Artists (FUBA) and the art schools Fuba Academy (1978), Funda Center (1983) (funda means "learn" in Xhosa), and the Alexandra Arts Centre (1986). The generation of modern African artists and educators trained at these institutions shaped the course of art after apartheid. Ainslie also organized short-term workshops, most notably the Thupelo Art Workshop (thupelo means "to teach by example" in Southern Sotho) in 1983. Thupelo linked local and international artists and focused on abstraction, a radical departure from the social realist style expected of politically engaged South African art of the 1980s.

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