scholarly journals Stitching History: Filipina Garmet Workers In Winnipeg

2021 ◽  
Author(s):  
Shirley Camia
Keyword(s):  
Oral History ◽  
The Philippines ◽  
Canadian History ◽  
Push And Pull Factors ◽  
Garment Workers ◽  
Filipino Women ◽  
1960S And 1970S ◽  
The 1960S ◽  
Oral History Interviews ◽  
Push And Pull

This research project examines the working experiences of Filipino women who moved to Winnipeg in the 1960s and 1970s to become garment workers. Findings are drawn from oral history interviews with Filipina garment workers who arrived between 1968 and 1974. The participants, who have become pioneers in Winnipeg’s Filipino community, will be a part of Canadian history that has, so far, been poorly documented. This paper will also examine the garment industry in Winnipeg prior to the arrival of the first Filipina garment workers, as well as the push and pull factors which led to their migration from the Philippines.

scholarly journals Stitching History: Filipina Garmet Workers In Winnipeg

2021 ◽  
Author(s):  
Shirley Camia
Keyword(s):  
Oral History ◽  
The Philippines ◽  
Canadian History ◽  
Push And Pull Factors ◽  
Garment Workers ◽  
Filipino Women ◽  
1960S And 1970S ◽  
The 1960S ◽  
Oral History Interviews ◽  
Push And Pull

This research project examines the working experiences of Filipino women who moved to Winnipeg in the 1960s and 1970s to become garment workers. Findings are drawn from oral history interviews with Filipina garment workers who arrived between 1968 and 1974. The participants, who have become pioneers in Winnipeg’s Filipino community, will be a part of Canadian history that has, so far, been poorly documented. This paper will also examine the garment industry in Winnipeg prior to the arrival of the first Filipina garment workers, as well as the push and pull factors which led to their migration from the Philippines.

scholarly journals Taking a Stance: Teacher Researchers’ Historical and Political Positioning

2020 ◽  
Vol 5 (2) ◽  
pp. 20-25
Author(s):  
Elizabeth Currin
Keyword(s):  
Civil Rights ◽  
Education Reform ◽  
Oral History ◽  
Teacher Research ◽  
Teacher Educators ◽  
Media Attention ◽  
Teacher Researchers ◽  
The 1960S ◽  
Oral History Interviews

With teacher walkouts and other forms of protest on the rise, EdD programs are beginning to frame practitioner-scholars’ work as activism. The purpose of this article is to explore and complicate that trend by interpreting data from oral history interviews with three long-term teacher researchers, alongside shifting historical scholarship on civil rights activism. Each participant cites civil rights activism as an inspiration and positions the rise of neoliberal education reform as a backlash to the 1960s that threatens the so-called teacher research movement. However, historians challenge the dominant narrative of the 1960s, highlighting behind-the-scenes conservative activism that did not garner the same media attention as liberal marches and boycotts. Consequently, while the participants’ stories offer abundant insight for practitioner-scholars as well as for the teacher educators who guide them, this article ultimately argues EdD activists should take a schoolhouse-to-statehouse approach.

scholarly journals TWENTY-FIRST CENTURY SABAR DRUMS: INNOVATIONS IN ORGANOLOGY AND PERFORMANCE PRACTICES IN SENEGAL AND THE DIASPORA

2019 ◽  
Vol 11 (1) ◽  
pp. 49-71
Author(s):  
Patricia Tang
Keyword(s):  
Oral History ◽  
South African ◽  
First Century ◽  
Performance Practices ◽  
And Performance ◽  
Apartheid Regime ◽  
The 1960S ◽  
Jazz Performance ◽  
Oral History Interviews

This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.

scholarly journals Casting, diversity and fluid identities in Australian television

2019 ◽  
Vol 174 (1) ◽  
pp. 86-96
Author(s):  
Kyle Harvey
Keyword(s):  
Oral History ◽  
Casting Process ◽  
Hybrid Identities ◽  
Television Industry ◽  
Television Production ◽  
English Speaking ◽  
The 1960S ◽  
And Function ◽  
Oral History Interviews

This article examines the practice and function of casting in the Australian television industry from the 1960s to the 1990s. It investigates the role of ethnicity and accents and the practice of casting actors of migrant backgrounds in Australian drama, variety and comedy. In an industry so often dominated by Anglo-Australian stories, faces and voices, the increasing presence of actors from non-English-speaking backgrounds and non-European ethnicities has been a key feature of the changing nature of Australian television production. By analysing ‘Showcast’ casting directories, supplemented with oral history interviews, this article suggests that actors have tended to adopt fluid or hybrid identities to navigate the casting process and find steady work in the television industry. The manipulation of identity, I argue, sits at the nexus of overlapping cultural spheres amid the challenging operation of multiculturalism in Australian media.

A ‘Super Bureaucrat’ to the Rescue? Push and Pull Factors in the Creation of the Queensland Ombudsman, 1963–74

2012 ◽  
Vol 19 (2) ◽  
pp. 247-260
Author(s):  
David Turton
Keyword(s):  
State Government ◽  
Political Debate ◽  
Public Servants ◽  
Push And Pull Factors ◽  
Government Administration ◽  
Administrative Action ◽  
Positive Argument ◽  
Important Means ◽  
The 1960S ◽  
Push And Pull

Reflecting on the first nine months of his role as Queensland's first State Ombudsman (then titled Parliamentary Commissioner for Administrative Investigations), David Longland noted that support for this independent watchdog of local and state government administration had not always been forthcoming: When the question of the appointment of a Queensland Ombudsman was first raised, there was consistently an opinion that the services of an Ombudsman were not necessary, but with the growth of administrative action commensurate with the wider field of legislation born of a variety of governments, negative argument was reduced and eventually became positive argument. So effluxion of time brought the adoption of policy for the appointment of an Ombudsman by the Queensland Government. Such an explanation belies the variety of factors that both aided and hampered the Queensland Ombudsman's creation throughout much of the 1960s and early 1970s. Premier Joh Bjelke-Petersen made official announcement of Longland's appointment on 12 August 1974 through the provisions of the Parliamentary Commissioner Act 1974 that had entered into force on 1 July 1974. Longland's appointment ended more than a decade of lobbying in Queensland, providing the community with an important means of addressing complaints of administrative error in an apolitical and non-adversarial manner. Most scholarship on this topic has assessed election promises, lobbying efforts from academics, internal political negotiations and the opposition of Joh Bjelke-Petersen to the Ombudsman concept. While each is an essential component of the Ombudsman's foundation in Queensland, there has been no effort to understand how the political debate was influenced by other policy actors, particularly high-ranking public servants.

Gendering the history of cinemagoing in Izmir, Turkey: Middle-class women’s experiences of cinema in the 1960s and 1970s

2021 ◽  
pp. 136754942110296
Author(s):  
Dilek Kaya
Keyword(s):  
Middle Class ◽  
Film Industry ◽  
Primary Source ◽  
Local Newspapers ◽  
Pleasurable Activity ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Oral History Interviews ◽  
The City

This article focuses on cinemagoing in Izmir (the third largest city in Turkey) in the 1960s and the 1970s, when the city developed a vibrant cinema culture with its numerous winter and summer cinemas. It attempts to undo the problematic conceptions of homogeneous audiences and cinemagoing experiences by focusing on how gender shaped and constructed the experiences of middle-class audiences. The primary source material for the article is qualitative data obtained from 62 oral history interviews, in addition to the contents of local newspapers and film industry magazines. The article argues that although, for women, cinemagoing was a very meaningful event in itself, it was not a wholly free and easily pleasurable activity. It also suggests that women, like men, went to the cinema to see a variety of films more than they went to socialize, and their choice of films was not limited to supposedly women’s genres. Overall, the article attempts to break with the nostalgic tone in popular and academic discussions of cinemagoing in Izmir and other cities in Turkey. It shows that cinema in Izmir, and possibly elsewhere in Turkey, was not just a forum of collective entertainment and pleasure, but also a locus of struggle.

scholarly journals Listening Across Difference: Oral History as Learning Landscape

2018 ◽  
Vol 11 (2) ◽  
pp. 39-47
Author(s):  
Steven High
Keyword(s):  
Working Class ◽  
Oral History ◽  
Community Building ◽  
Racial Minorities ◽  
Creative Practice ◽  
Truth And Reconciliation ◽  
Archival Collection ◽  
Political Upheaval ◽  
1960S And 1970S ◽  
The 1960S

Oral history as a field of research, teaching, archival collection, community building or engagement, truth and reconciliation, and creative practice, emerged with the diffusion of the tape recorder in the 1960s and 1970s. This was a time of enormous social and political upheaval. As a result, oral history was quickly taken up by feminists, working-class and queer activists, racial minorities, and other marginalized people who sought to record the hidden stories that would otherwise be lost. This article introduces readers to the field of oral history, its methodology and ethics. Oral history is a creative practice, open to adaptation and experimentation. As it is a place of listening across difference, oral history interviewing presents itself as a unique learning landscape. Several pedagogical examples are also shared.

Preservation Is People

2017 ◽  
Author(s):  
M. J. Rymsza-Pawlowska
Keyword(s):  
African American ◽  
Oral History ◽  
American History ◽  
African American History ◽  
1960S And 1970S ◽  
The 1960S

The preservation and collection of structures, objects and stories changes significantly in the 1960s and 1970s. Building preservation is democratized as more people and organizations are involved, and different kinds of structures are targeted, including vernacular and recent buildings, and sites associated with African American history. Likewise the collection of vernacular objects and expanded oral history practice also changed at this moment.

scholarly journals The Making of a Movement: An Intergenerational Mobilization Model of the Nonviolent Nashville Civil Rights Movement

2021 ◽  
pp. 1-26
Author(s):  
Daniel B. Cornfield ◽  
Jonathan S. Coley ◽  
Larry W. Isaac ◽  
Dennis C. Dickerson
Keyword(s):  
Civil Rights ◽  
Oral History ◽  
Civil Rights Movement ◽  
Jim Crow ◽  
Local Movement ◽  
The 1960S ◽  
Movement Mobilization ◽  
Oral History Interviews ◽  
Bridge Building ◽  
And Training

The 1960s-era, Nashville nonviolent civil rights movement—with its iconic lunch counter sit-ins—was not only an exemplary local movement that dismantled Jim Crow in downtown public accommodations. It was by design the chief vehicle for the intergenerational mentoring and training of activists that led to a dialogical diffusion of nonviolence praxis throughout the Southern civil rights movement of this period. In this article, we empirically derive from oral-history interviews with activists and archival sources a new “intergenerational model of movement mobilization” and assess its contextual and bridge-leading sustaining factors. After reviewing the literatures on dialogical diffusion and bridge building in social movements, we describe the model and its sustaining conditions—historical, demographic, and spatial conditions—and conclude by presenting a research agenda on the sustainability and generalizability of the Nashville model.

scholarly journals JAZZ IN SERVICE OF THE STRUGGLE

2018 ◽  
Vol 10 (4) ◽  
pp. 67-102
Author(s):  
Diane Thram
Keyword(s):  
Oral History ◽  
South African ◽  
Next Generation ◽  
Substantial Body ◽  
Port Elizabeth ◽  
Apartheid Regime ◽  
The 1960S ◽  
Jazz Performance ◽  
Oral History Interviews

This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.

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