Union women march in Labor Day parade

General note: Title and date provided by Bettye Lane.

Gay women at gay fair in NYC

General note: Title and date provided by Bettye Lane.

Transvestite in Halloween parade in Greenwich Village

General note: Title provided by Bettye Lane.

Transvestite participants in Halloween parade

General note: Title provided by Bettye Lane. Digital reproduction

Halloween parade in Greenwich Village

General note: Title provided by Bettye Lane.

Earth Day in New York City

Inscriptions: Verso: [stamped] Credit must be given to Leinwand from Monkmeyer Press Photo Service].

High school student in St. Patrick's Day parade

Inscriptions: Verso: [stamped] Credit must be given to Freda Leinwand from Monkmeyer Press Photo Service.

Musically Consonant, Socially Dissonant: Orange Walks and Catholic Interpretation in West-Central Scotland

This article examines the music used by the Orange Order, in its public parades, more commonly referred to as ���Orange Walks.��� The Orange Order is an exclusively Protestant fraternal organization, which traces its roots to 1690 and the victory of the Protestant Prince William of Orange over the Catholic King James. Yet, as in Northern Ireland, many consider the group to be sectarian and view its public celebrations as a display of ethno-religious triumphalism. This article explores the extra-musical factors associated with Orangeism���s most iconic song, ���The Sash My Father Wore,��� how other groups have misappropriated the song, and how this has distorted its meaning and subsequent interpretation.<br/><br/>Recent statistics have shown that Glasgow hosts more Orange parades each year than in Belfast and Derry/Londonderry combined, yet while there have been many anthropological and ethnomusicological studies of Northern Ireland���s Orange parades, very little research has focused on similar traditions in Scotland. This article seeks to address that gap in the literature and is intended as a preparatory study, laying the groundwork for further analysis.

Parading through the Peace Process:Anthropology, Governance and Crisis in Northern Ireland

Because the authors both did work on the North Ireland parades, they became integrally involved as fieldworking anthropologists in the monitoring of these events, and in the creation of policy for their management. They detail how they worked with individuals and groups at every level, from protestors on the street up to the Secretary of State for the region. Later funded to examine legal and policing approaches to protests in other countries, especially South Africa, they show how they used this comparative knowledge to urge the implementation of measures which appear to have led to a diminution of violence in the parades. Finally, they assess their own contribution to the peace process in terms of contingency, timing, luck, flexibility, and industry.

Estrategia comunicativa que utiliza Revista VistalSur para promocionar el Corredor Tur��stico Santa B��rbara

En el presente trabajo se evidencia la estrategia de Revista VistalSUR para promocionar el Corredor Tur��stico Santa B��rbara, en la Regi��n Sur y en las principales ciudades del Ecuador. Desde septiembre del 2010 hasta julio del 2013 se han elaborado seis reportajes: Las toquilleras crean arte con sus manos, en los cantones azuayos de Chordeleg y S��gsig. Desfiles y Disfraces por San Chavita, S��gs��g. Carnaval: explosi��n de m��sica y color, en el Corredor tur��sticos Santa B��rbara. Macanas, un ancestral arte textil en Gualaceo. Tres Lagunas: el coraz��n verde de Chordeleg. Paja toquilla, con las ra��ces de una m��gica tradici��n, en Gualaceo, Chordeleg y S��gsig. Entre todos los reportajes suman 28,5 p��ginas de contenido. Estos trabajos se han impreso en 52.000 ejemplares que han sido distribuidos en la Regi��n Sur, en las zonas tur��sticas de Guayaquil y Quito, y en las principales ferias de turismo del Ecuador y de los pa��ses vecinos de Colombia y Per��.

"Let Us Sing as We Go": The Role of Music in the United States Suffrage Movement

Music played a prominent role in the United States women���s suffrage movement (1848���1920). Suffragists left behind hundreds of compositions supporting their cause and historical accounts indicate that musical performances were common at suffrage events. With only a few exceptions, scholars have disregarded the music used in this movement, and have underemphasized its significance. This study examines the use of music in the suffrage movement from three perspectives: music with lyrics, titles, and images that espouse women���s enfranchisement; music performed at national suffrage conventions held by the National American Woman Suffrage Association; and music accompanying suffrage parades. Though the music used varies in each case, it is clear that music played an important role in unifying suffragists and underscoring the ideals and goals of the movement.