Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

in their territories for the promotion of their cultural events or to attract tourists. This has happened with Cartier-Bresson’s images in Tricarico (published in Cartier-Bresson 1990 ) or in Pietrapertosa, where they have been enlarged and hung in the locations where they were made ( image 7.1 ). 7.2 Colobraro, August 2018. Part of the set design for the street theatre piece ‘ Notte a quel paese ’ juxtaposing images from Italy’s unification/annexation of the South with Franco Pinna’s 1952 photograph of the ‘enchantress’ of Colobraro. 7.3 A

in Sonic ethnography
Open Access (free)
Janelle Joseph

atmosphere of the games and transnational connections they make, however, allow them to escape those hardships, if only temporarily. Nurse explains that the “merriment, colourful pageantry, revelry, and street theatre” of diaspora carnivals “are born out of the struggle of marginalized peoples to shape a cultural identity through resistance, liberation and catharsis” ( 1999 , p. 662). The Afro

in Sport in the Black Atlantic
Reflections on contemporary anarchism, anti-capitalism and the international scene
Karen Goaman

territory in between. They’re attempting to invent what many call a ‘new language’ of civil disobedience, combining elements of street theatre, festival and what can only be called non-violent warfare – non-violent in the sense adopted by, say, ‘Black Block’ anarchists, in that it eschews any direct physical harm to human beings. (Graeber, 2002: 66) The last tactic referred to concerns property damage of key symbols of capitalism – banks, shop fronts, cars – carried out by the ‘Black Block’. The ‘Black Block’ has its origins in a number of European anarchist and Western

in Changing anarchism
Community, language and culture under the Celtic Tiger
Steve Coleman

Dúlamán. This was followed by shots of people dancing in costumes in the style of Macnas – the Galway-based group which specialises in spectacular street theatre, originally inspired by the Catalan radical theatre company Els Comediants. Then, some fine print appeared about the terms of the share offer and, at the very end, we saw a shot of people approaching a bonfire somewhere in the mountains, carrying burning torches. Other bonfires were visible in the distance. This last image carried an oddly inverted echo of the traditional customs of St John’s Eve, Oíche Shin

in The end of Irish history?
Open Access (free)
Performing in the spaces of city and nation in A Fine Balance
Peter Morey

the assembly of so many beggars, he explained. ‘They were mistaken for political activists in fancy dress – troublemakers indulging in street theatre, portraying government figures as crooks and criminals embarked on beggaring the nation. You know the sort of thing.’ (AFB, 506) The police then provide an official entourage for the remainder of the journey. Shankar’s funeral procession even offers a moment of that ritualised decrowning that Bakhtin identifies as part of carnivalised life and literature, when figures of authority are stripped of their power and

in Rohinton Mistry
Open Access (free)
Tania Anne Woloshyn

experiments and Ritter’s discovery of ultraviolet light. 52 By the mid-nineteenth century the carbon arc was used in welding and to light railway stations, public streets, theatres, and even the low-lit interiors of photographic studios. The carbon arc lamp emitted a brilliant white light in an arch formation when an electrical current was passed between its two rods of carbon, which made it ideal for lighting large public spaces or, when

in Soaking up the rays
Open Access (free)
Rodney Barker

redefining governed space as citizens’ space, and using active satire to ridicule and call into question the identity and policy of those who deployed nuclear weapons. Where civil disobedience employs the law against itself, other uses of public places to question policy and extend the public identity of the protestors remain within the law. The use by radicals and trade unionists of processions, banners, assemblies, demonstrations, brass bands, and the street theatre which these provided was not only a claim to inhabit an existing social space, but the

in Cultivating political and public identity