No Easy Way Through: Black Workers and Race Leadership at the Nadir

It is difficult, even excruciating, to imagine the staggering descent from high optimism to despondency experienced by many African Americans who lived between emancipation and the dawn of the twentieth century. For historians living in the post–civil rights era, recapturing the scale, velocity, and brutality of that dramatic fall has been hampered by two conceptual problems. The first of these, undergirded by prominent trends in the formerly “new” social history, is a widely shared enthusiasm for illuminating those hidden corners of daily life where men and women on the receiving end of Jim Crow continued to wield a degree of control. “Agency” has been the buzzword for a generation of scholarship that emphasizes the staying power and persistence of black Southerners in the face of relentless assaults on their social and economic status, their civil rights, and even, at times, their collective existence. This is, in many ways, an understandable reaction to an earlier consensus that relegated black historical initiative to the margins of a national fable cleansed of unseemly violence and sharp social conflict, but it can also be problematic.

Cut down by some cowardly miscreants’: Plant maiming, or the Malicious Cutting of Plants as an Act of Protest in Eighteenth and Nineteenth Century Rural England

Since the publication of Hobsbawm and Rudé's Captain Swing our understanding of the role(s) of covert protests in Hanoverian rural England has advanced considerably. Whilst we now know much about the dramatic practices of incendiarism and animal maiming and the voices of resistance in seemingly straightforward acquisitive acts, one major gap remains. Despite the fact that almost thirty years have passed since E. P. Thompson brought to our attention that under the notorious ‘Black Act’ the malicious cutting of trees was a capital offence, no subsequent research has been published. This paper seeks to address this major lacuna by systematically analysing the practices and patterns of malicious attacks on plants (‘plant maiming’) in the context of late eighteenth- and early nineteenth-century southern England. It is shown that not only did plant maiming take many different forms, attacking every conceivable type of flora, but also that it was universally understood and practised. In some communities plant maiming was the protestors' weapon of choice. As a social practice it therefore embodied wider community beliefs regarding the defence of plebeian livelihoods and identities.

Study of the images for the Visual Arts Education in Secondary Education textbooks: educational implications

In this paper we present the first data from the research conducted to determine the relationship between traditional visual arts and other forms of visual culture closer to the experiences of high school youth. The hypothesis of this research is that while students are nurtured and live primarily with the images provided by the media culture, their textbooks basically refer to the more traditional art images. The research has been limited to a review and analysis of the most common educational materials for teaching visual arts in high school. After the systematization and analysis of the images appeared in textbooks, we have detected three major types: the artistics, those who belong to media culture and others. The most relevant conclusions indicate that: there are hardly any connections between different types of images, they offer a very traditional view of art and they are far removed from the experiences of young book users.

Museums and youth: between misunderstanding and disappointment. Youth perceptions and arguments about the cultural consumption of museums in Chile

Young people are less explored in museum audience research; this is a paradoxical situation when considering its strategic location in the cultural reproduction and if considering the high performing cultural consumption compared with other sectors. The phenomenon of museums consumption by young Chileans who are self recognized as public and non-public museums is explored from a qualitative approach. It was conducted with focus groups in the three largest cities in Chile (Santiago, Valparaíso and Concepción). They identify the museum as a cultural institution in full force. However, in questioning museums activity youth reveal the specificity of their cultural matrix. This is referred to a social temporality based on the fragment, the discourse of familiarity, proximity and instead of breaking and critical. They claim a museum aesthetic / historical experience based on pleasure and enjoyment. An overview is proposed to further clarify the youth cultural consumption to characterize more precisely the place of the museum in the set, to design more effective policies museums.

Kawamoto’s "Dojoji Temple": Puppetry, Gesture and Myth

Dojoji Temple ( Dōjōji, 1976) is a short puppet animation directed by Kihachirō Kawamoto. Influenced by Bunraku (Japanese puppet plays), emaki (painted scroll), Noh theatre and Japanese myth, Dojoji Temple tells of a woman’s unrequited love for a young priest. Heartbroken, she then transforms into a sea serpent and goes after the priest for revenge. While Kawamoto’s animation is rich with Japanese aesthetics and tragedy, his animation is peopled by puppets who do not speak. Limited and restrained though the puppets may be, their animated gestures speak volumes of powerful emotions. For our article, we will select several scenes from the animation, and interpret their actions so that we can further understand the mythical world of Dojoji Temple and the essential being of puppetry. Our gesture analysis will take into account cinematographic compositions, sound and bodily attires, among other elements.

Metaphor and Maltese Art: Explorations in the Temple Period

Temple Period Malta in the 3rd millennium BC saw the production of a range of figurative and decorative art and architecture that implies a richly populated spiritual and cognitive world associated with ritual practice in life and death. The paper explores the potential to categorize the figurative art into distinct groups, and how these various images might represent aspects of the cosmology and social concerns of a prehistoric island society.