Jubilee and the Limits of African American Freedom after Emancipation

Scholarship generated in the post-civil rights US underpins a growing consensus that any honest confrontation with the American past requires an acknowledgment both of the nation’s foundations in racially-based slave labour and of the critical role that the enslaved played in ending that system. But scholars equally need to examine why the end of slavery did not deliver freedom, but instead – after a short-lived ‘jubilee’ during which freedpeople savoured their ‘brief moment in the sun’ – opened up a period of extreme repression and violence. This article traces the political trajectory of one prominent ex-slave and Republican party organiser, Elias Hill, to assess the constraints in which black grassroots activists operated. Though mainly concerned with the dashed hopes of African Americans, their experience of a steep reversal is in many ways the shared and profoundly significant legacy of ex-slaves across the former plantation societies of the Atlantic world.

Choreographies of Irish Modernity

Although movement is often viewed as forming the ‘kinetic basis’ of the modern age, the analysis of movement practices such as dance is often neglected in theories of modernity. Dance theorists such as André Lepecki (2006) and Randy Martin (1998) have argued for an awareness of how the kinaesthetic politics of modernity perform a colonization of space and bodies in their constant drive toward movement and mobility. This chapter examines how an analysis of two dance works by Irish artists, one from the early twentieth century and one from the early twenty-first century, can contribute to these discussions of modernity and dance, and how the works might illuminate connections between dance and politics in Ireland in their alternative approaches to these modernist kinaesthetic politics. Taking a brief, contextualizing look at an early dance play by William Butler Yeats, the chapter then focuses on what echoes, or afterlives, can be found from this early modernist work in a piece by contemporary dance theatre choreographer Fearghus Ó’Conchúir. In both works we see the ability of dance to create an alternative space within the pervading discourses (or movements) of a sociopolitical and cultural landscape that allows the spectator – through a visceral connection with a dancer – to experience a different perspective on the ‘idea of a nation’.

Migrant identities in a new immigrant destination: revealing the limitations of the ‘hard working’ migrant identity

Migrant labour has transformed local economies in many places, often helping to reverse long-term decline. The emergence of new immigrant destinations (NID) globally brings mixed opportunities for the individuals involved. This article uses empirical evidence, focusing on the workplace, to show the performance, construction and significance of migrant identity. By using social identity theory to examine what it means to be a ‘migrant’, it follows from Goffman’s overarching concern with social interactions and his promotion of microanalysis as analytical lenses.
The article reveals the ambiguity of the label ‘migrant’. It shows how the external application or internal enactment of migrant identities bestow particular status that represents an asset or an obstacle to integration. It can mean ‘hard working’, ‘less deserving’ and ‘exploitable’ and it also denotes ‘lazy’ and individuals. While some individuals assume the hard working migrant and ‘exploitable’ identity in certain circumstances because of the benefits that it brings, this status can also cause high levels of dissatisfaction and distress among migrants. The research shows how the creation of a migrant identity limits the structures and networks from which migrants may draw resources and in so doing curtails the possibilities for social change due to migration.