knowledge of elsewhere, either in the Rev. Nicholson’s reports or the court documents. All of these stories parallel aspects of English witchcraft tradition: Izzard is said, for example, to have bewitched the wife of her creditor, the innkeeper and grocer, ‘making her go through all sorts of queer antics, even to dancing on the tea table among the cups and saucers’ ( Magic dancing; Enchanted persons dance until released ; Witch

in Witchcraft Continued
Open Access (free)
West Indian intellectual

respectability in ways other than her colonial origins. Becoming a chorus girl symbolised a downward step, a move into one of those professions, like acting or dancing, which at that period were always suspected of sexual laxity. Chorus girls were largely working class, and could perhaps be acceptable as such. As Mrs Wilson, the suspicious interrogator in ‘Outside the machine’, says of a working-class chorus

in West Indian intellectuals in Britain

Base Hospital Is Not a Coney Island Dance Hall’, presents a handful of clear examples of serious bullying on the part of medical officers, though it is unclear whether these can be viewed as typical.12 125 Professional women Julia Stimson’s ‘splendid women’ American nurse Julia Stimson appears to have had no difficulties in her relationships with medical officers. Her charismatic personality and apparently resolute refusal to see anything but good in any of her colleagues seems to have inoculated her against the problems encountered by some other senior nurses

in Nurse Writers of the Great War

. Spiritual Baptists and the shifting frontier of religious acceptability [A]‌fter hymns and prayers come the part which is called Rejoicing. This consists of songs set to dance music, which cause them to shake and jump about in the most awful manner possible, in their frenzied state they make use of words which they

in Frontiers of the Caribbean
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A theatre maker in every sense

. Two examples of contemporary European theatre had the most influence on the company’s change of direction, as they both moved the vogue of orientalism higher up the cultural scale. First was the visit of Diaghilev’s Ballets Russes to the London Coliseum in 1910 dancing Rimsky-Korsakov’s Scheherazade, designed by Léon Bakst and choreographed by Michel Fokine. It was most memorable for an orgiastic Bacchanale scene, which, along with its choreographer, would feature ultimately on the Asche–Brayton stage. The second production that set the critics alight was the Berlin

in Stage women, 1900–50

subjective fades to black to suggest the ‘dying of the light’ as a mortally injured Ian Bannen tries unavailingly to attend to what a policeman is saying to him. In Charles Crichton’s Dance Hall (1950), the crosscutting between dance hall and train station as the heroine (Natasha Parry) is taken almost to the point of suicide eloquently forges a connection between the deceptive illusions of the former setting (‘You’re Only

in British cinema of the 1950s
Recent films of David and Judith MacDougall

directed by Basil Wright. Indeed, the first part of Photo Wallahs , in which middle-class tourists are shown coming up by cable car to a mountain look-out point and then dressing up and dancing in Bollywood costumes, has been explicitly associated by MacDougall with ‘Apparel of a God’, the last part of The Song of Ceylon , which features a performance by elaborately costumed dancers. 7

in Beyond observation

about the witches’ nature, and even their very existence, that makes the witches so credible as dramatic creations. Of course, not all critics share the view that the witches are credible: this is probably why the wayward sisters’ scenes have so frequently been dismissed as spurious. Diane Purkiss outlines her case against the witches on these grounds: [T]he witch-scenes brazenly refuse any serious engagement with witchcraft in favour of a forthright rendering of witches as a stage spectacular. These all-singing, all-dancing witches bear about as much relation to the

in Scepticism and belief in English witchcraft drama, 1538–1681

, the typical curly hair, thick lips and physical strength’; another man ‘possesses all the Negro characteristics, but his skin is somewhat lighter and he has an elongated skull’ (Lopashich 1958 : 173). Lopašić also recorded several family trees, and songs/dances with likely Arab or Bagirmi origins. His essentialised account of the ‘Negroes’ temperament was consistent with European and colonial formations of blackness: Though known for their kindheartedness, they were also much feared when in a bad

in Race and the Yugoslav region
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Street and theatre at the end of Fordism

mental fatigue and repetitive tasks. Thus striking workers in May 1968 replaced conventional quantitative demands (pertaining to working hours, vacation time, rate of pay) with qualitative demands for a ‘humanization of work.’14 These qualitative demands were not necessarily revolutionary or fundamentally anti-­ capitalist – though many were – but they rejected the tight regulation, close surveillance, and mechanical repetitiveness of Fordist-Taylorist factory production. Inside worker-occupied factories, strike committees organized music, dances, games, film

in Street theatre and the production of postindustrial space