Remembrance Poppy

Total Page:16

File Type:pdf, Size:1020Kb

Remembrance Poppy Remembrance poppy The remembrance poppy is an artificial flower that has been used since 1921 to commemorate military personnel who have died in war, and represents a common or field poppy, Papaver rhoeas. Inspired by the World War I poem "In Flanders Fields", and promoted by Moina Michael, they were first adopted by the American Legion to commemorate American soldiers killed in that war (1914–1918). They were then adopted by military veterans' groups in parts of the British Empire. Today, they are mostly used in the United Kingdom, Canada, Australia and New Zealand, to commemorate their servicemen and women killed in all conflicts. There, The flower of the common or field small artificial poppies are often worn on clothing leading up to Remembrance poppy Papaver rhoeas, on which the Day/Armistice Day,[1] and poppy wreaths are often laid at war memorials. In remembrance poppy is based. Australia and New Zealand, they are also worn onAnzac Day. The Royal British Legion's Poppy Appeal has caused some controversy, with some—including British Army veterans—arguing that it has become excessive, is being used to marshal support behind British military campaigns, and that public figures are pressured to wear poppies. Contents Origins Usage Canada Australia New Zealand United Kingdom Northern Ireland Republic of Ireland Elsewhere Other designs and purposes White poppies Purple poppies Protests and controversy In the media In sport See also References External links Origins The remembrance poppy was inspired by the World War I poem "In Flanders Fields". Its opening lines refer to the many poppies that were the first flowers to grow in the churned-up earth of soldiers' graves in Flanders, a region of Belgium.[2] It is written from the point of view of the dead soldiers and, in the last verse, they call on the living to continue the conflict.[3] The poem was written by Canadian physician, Lieutenant Colonel John McCrae, on 3 May 1915 after witnessing the death of his friend, a fellow soldier, the day before. The poem was first published on 8 December 1915 in the London-based magazine Punch. In 1918, Moina Michael, who had taken leave from her professorship at the University of Georgia to be a volunteer worker for the American YWCA, was inspired by the poem and published a poem of her own called "We Shall Keep the Faith".[4] In tribute to McCrae's poem, she vowed to always wear a red poppy as a symbol of remembrance for those who fought and helped in the war.[2] At a November 1918 YWCA Overseas War Moina Michael on a 1948 U.S. Secretaries' conference, she appeared with a silk poppy pinned to her coat and commemorative stamp distributed 25 more to those attending. She then campaigned to have the poppy adopted as a national symbol of remembrance. At a conference in 1920, the National American Legion adopted it as their official symbol of remembrance.[2] At this conference, Frenchwoman Anna E. Guérin was inspired to introduce the artificial poppies commonly used today. In 1921 she sent her poppy sellers to London, where the symbol was adopted by Field Marshal Douglas Haig, a founder of the Royal British Legion. It was also adopted by veterans' groups in Canada, Australia and New Zealand.[2] James Fox notes that all of the countries who adopted the remembrance poppy were the "victors" of World War I.[3] Usage Today, remembrance poppies are mostly used in the United Kingdom, Canada, Australia and New Zealand—countries which were formerly part of the British Empire—to commemorate their servicemen and women killed in all conflicts. They are used to a lesser extent in the United States. Canada In Canada, the poppy is the official symbol of remembrance worn during the two weeks before 11 November, having been adopted in 1921. The Royal Canadian Legion, which has trademarked the image,[5] suggests that poppies be worn on the left lapel, or as near the heart as possible.[6] Until 1996, poppies were made by disabled veterans in Canada, but they have since been made by a private Canadian poppies contractor.[7] The Canadian poppies consist of two pieces of moulded plastic covered with flocking with a pin to fasten them to clothing. At first the poppies were made with a black centre. From 1980 to 2002, the centres were changed to green. Current designs are black only; this change caused confusion and controversy to those unfamiliar with the original design.[8] In 2007, sticker versions of the poppy were made for children, the elderly, and healthcare and food industry workers.[9] Canada also issues a cast metal "Canada Remembers" pin featuring a gold maple leaf and two poppies, one representing the fallen and the other representing those who remained on thehome front.[10] Following the installation of the Tomb of the Unknown Soldier at the National War Memorial in Ottawa in 2000, where the national Remembrance service is held, a new tradition formed spontaneously as attendees laid their poppies on the tomb at the end of the service. This tradition, while not part of the official program, has become widely practised elsewhere in the country, with others leaving cut flowers, photographs, or letters to the deceased. Since joining Canada in 1949, the remembrance poppy and Armistice Day commemorations have largely displaced Newfoundland's own commemorative floral emblem, the forget-me-not, and its own Memorial Day held on 1 July. Although in recent years the forget-me-not has had somewhat of a resurgence in Newfoundland's military commemorations,[11][12] the remembrance poppy is more common. Australia In Australia, remembrance poppies have been used since 1921 to commemorate Australian soldiers who died in war. On Remembrance Day (11 November) and Anzac Day (25 April) they are laid at war memorials, and are sold by the Returned and Services League of Australia (RSL) in return for donations.[13] New Zealand In New Zealand, remembrance poppies are most often worn on Anzac Day (25 April) to commemorate New Zealand soldiers who died in war. They are also worn on Remembrance Day, and are sold by the Royal New Zealand Returned and Services' Association (RSA) in return for donations. The RSA planned to hold its first Poppy Day appeal around the time of Armistice Day 1921, as other countries were doing. However, the ship carrying the poppies from France arrived in New Zealand too late, and so the association waited until Anzac Day 1922. This first Poppy Day appeal was a success. Most of the money raised went to needy soldiers and their families, while the rest went to the French Children's League to help relieve suffering in war-ravaged areas of northern France. The popularity of Poppy Day grew and there were record collections during the Second New Zealand remembrance World War. By 1945, 750,000 poppies were being distributed nationwide, which equated poppy to half the population.[14] United Kingdom In the United Kingdom, remembrance poppies are sold by The Royal British Legion (RBL). This is a charity providing financial, social, political and emotional support to those who have served or who are currently serving in the British Armed Forces, and their dependants. They are sold on the streets by volunteers in the weeks before Remembrance Day. The remembrance poppy is the trademark of The Royal British Legion.[15][16][17] The RBL state, "The red poppy is our registered mark and its only lawful use is to raise funds for the Poppy Appeal";[18] its yearly fundraising drive in the weeks before Remembrance Day. The RBL says these poppies are "worn to commemorate the sacrifices of our Armed Forces and to show support to those still serving today".[19] Other poppy merchandise is sold throughout the year [20] as part of the ongoing fundraising. Royal British Legion poppy In England, Wales, and Northern Ireland, the poppies typically have two red paper petals mounted on a green plastic stem with a single green paper leaf and a prominent black plastic central boss. The stem has an additional branch used to anchor the poppy via a pin in the lapel or buttonhole. In Scotland, the poppies are curled and have four petals with no leaf. The yearly selling of poppies is a major source of income for the RBL in the UK. The poppy has no fixed price; it is sold for a donation or the price may be suggested by the seller. The black plastic center of the poppy was marked "Haig Fund" until 1994 but is now marked "Poppy Appeal".[21] A team of about 50 people—most of them disabled former British military personnel A volunteer makes poppies at the —work all year round to make millions of poppies at the Poppy Factory in Royal British Legion Poppy Factory [22] Richmond. Scottish poppies are made in the Lady Haig's Poppy Factory in in London, where over 30 million Edinburgh. poppies are made by a small team each year For many years after World War I, poppies were worn only on Remembrance Day itself.[23] However, today the RBL's "Poppy Appeal" has a higher profile than any other charity appeal in the UK.[23] The poppies are widespread from late October until mid-November every year and are worn by the general public, politicians, the Royal Family and other public figures. It has become common to see large poppies on buses, tube trains and aeroplanes as well as on lampposts, billboards, public buildings and landmarks. Many newspapers and magazines show a poppy on their [24] cover page, and some social network users add poppies to their avatars.
Recommended publications
  • 'Music and Remembrance: Britain and the First World War'
    City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ publications@city.ac.uk ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War.
    [Show full text]
  • By Susan Shelton Mural Imagery Key Top Section
    “Nurturing the Dream” By Susan Shelton Mural Imagery Key Top Section: The quotes reflect the overall theme of the mural: the importance of finding a balance between the work we do as students, workers, activists, and caregivers, and the time needed for reflection, nourishment of the spirit and restoration of strength. The large rectangular tiles on pillars A, B, C, D are inspired by Wangari Maathai’s “I Will be a Hummingbird” story. This folk tale poignantly illustrates the importance of doing one’s best, no matter how insignificant our efforts may feel at times, in the face of a seemingly insurmountable task. Pillars: The mural pillars showcase the conceptual and artistic participation of the students and staff of the Student Community Center, and other members of the university community, who were invited to contribute their suggestions for the imagery featured, and who also participated in painting the individual tiles. The tiles represent the various identities, paths, goals, causes and struggles of the students: academic, social, personal and political. Pillar A: 1. World View: North and South America 2. Wi-Fi Symbol/Connectivity 3. Power Symbol in the Digital Age 4. Hands Holding Seedling: Cultivating Hope/Justice/Stewardship 5. Filipino Sun 6. Irish Symbol: Love, Loyalty and Friendship 7. Love, Pride and Celebration of African Heritage 8. Lotus: Ancient Asian Polyvalent Symbol 9. Raised Fist with Olive Branch: Nonviolent Protest/Activism 10. Study of Astronomy/Astrophysics 11. Study of Enology/Viticulture 12. Study of Music/Music Bringing People Together 13. McNair Scholarship Program 14. Salaam: Peace/Peace Be With You (written in Amharic) 15.
    [Show full text]
  • Remembrance Poppy
    Attachment 2 Remembrance Poppy The red poppy, which became a national emblem of remembrance in 1920, is worn to honor and memorialize those who gave their lives to protect our country’s freedom. It’s historical roots date back to World War I, when a Lieutenant Colonel was overcome with sorrow after a battle in the poppy-covered Flanders Field in Belgium. The Colonel wrote a poem to channel his grief, called “In Flanders Fields”. This poem caught the eye of a professor at the University of Georgia, and she vowed to always wear a red poppy in remembrance of those who had been left behind. She lobbied to make the red poppy a national memorial symbol, and on September 27, 1920, the red poppy officially became the U.S. national emblem of remembrance. Red poppies are donned on Memorial Day and also on National Poppy Day. The American Legion Auxiliary - female relatives of wartime veterans, is the main group that raises money through the distribution of crepe-paper poppies. These poppies are handcrafted by veterans and provides them wages and a therapeutic outlet. Option 2: Remembrance Poppy DESIGN INSPIRATION Legend 1 Seven reflective stainless steel monuments with engraved names 2 Unit motto etched into concrete 3 1 3 Painted steel ‘slice’ of poppy image 4 Granite bench 5 Decorative paving 6 Flush-mount lights to illuminate names 5 4 6 2 Materials When viewed from one specific • Polished stainless steel point, the seven monuments • Painted steel unite to form a single image. • Etched concrete Elevation from lawn Option 2: Remembrance Poppy
    [Show full text]
  • British Defence Policy Since 1997: Background Issues
    RESEARCH PAPER 08/57 British defence policy 27 JUNE 2008 since 1997 British defence policy has altered significantly since the Labour Government came to power in 1997. Those changes have been prompted largely by the shifting nature of the strategic environment over that period, and in particular the events of 11 September 2001. However, the strategic foreign policy objectives of former Prime Minister Tony Blair have also helped to shape the direction of British defence policy and have had a fundamental impact on the role, structure and welfare of the Armed Forces. This paper is not intended to be a comprehensive assessment of all aspects of defence policy since 1997, but an introduction to some of the main issues that have shaped the defence agenda in that time. It also examines the prospects for defence since Gordon Brown became Prime Minister in June 2007. Background to some of the themes in this paper is available in Library Research Paper RP08/58, British Defence policy since 1997: background issues. This paper should also be read in conjunction with Library Research Paper RP08/56, British foreign policy since 1997. Claire Taylor and Tom Waldman INTERNATIONAL AFFAIRS AND DEFENCE SECTION Sophie Gick SOCIAL AND GENERAL STATISTICS SECTION HOUSE OF COMMONS LIBRARY Recent Library Research Papers include: List of 15 most recent RPs 08/42 Human Fertilisation and Embryology Bill [HL] [Bill 70 of 2007-08] 02.05.08 08/43 Economic Indicators, May 2008 06.05.08 08/44 Children and Young Persons Bill [HL] [Bill No 8 of 2007-08] 08.05.08 08/45 Unemployment by Constituency, April 2008 14.05.08 08/46 Regulatory Enforcement and Sanctions Bill [HL] 2007-08 16.05.08 [Bill 103 of 2007-08] 08/47 London Elections 2008.
    [Show full text]
  • Best Practice Guide to Community Covenants
    BEST PRACTICE GUIDE to COMMUNITY COVENANTS q Forewords and introduction 05 • Forewords 06-08 • Introduction 09-10 BEST PRACTICE GUIDE w How can a local authority get involved? 11 • Process map 11-13 to COMMUNITY COVENANTS • Examples of what works 14-16 e Who are the key players to involve? 17 • Stakeholders 18-20 • Partnership working 21-24 r How can a local authority ensure that the scheme is fit for local purpose and long term? 25 • Different types of local authorities 26 • Different demographics 27 • Engaging with your community 28 • Maintaining momentum 29-30 t What are the key issues of importance to the Armed Forces community? 31 • Housing 32-34 • Health 35-38 • Adult social care 39-40 • Education 41-42 • Resettlement and transition 43-45 • Reservists 46-47 • Employment 48-50 • Sport and leisure 51-52 • Remembrance 53 • Benefits of engaging with the Armed Forces 54-55 • Case studies 56 y How can local authorities improve access to services and information? 57 • Data and statistics 58-59 • Targeting services more effectively 60-66 Author: Tania Hill, u How can a local authority get a Community Local Government Campaigns Officer, The Royal British Legion. Covenant Grant? 67 • Background 68 • The process 69-71 • Examples of successful bids 72-73 i Conclusion and further information 75-79 02 Shoulder to shoulder with all who Serve Contents 03 introduction Forewords & Forewords Forewords and “ With the withdrawal of troops from Afghanistan, the rebasing of troops introduction from Germany and the increased numbers of Reservists expected in society, support from local authorities and local communities is going to be more vital than ever.” Dr Chris Simpkins DMA, Hon.
    [Show full text]
  • British Politics Review Journal of the Brit H Politics Society, Norway
    Volume 12 No. 2 Spring 2017 British Politics Review Journal of the Brith Politics Society, Norway HERITAGE BRITAIN How the British remember the past CONTRIBUTORS Nick Lloyd · Maggie Andrews · Steven Fielding · John Gardner Brian Goodey · Sian^ Nicholas British Politics Review Volume 12 No. 2 Spring 2017 Contents The Third Battle of Ypres: 100 Years On Editorial Nick Lloyd pp. 3-4 Remembering the past British Practices of Remembrance: Politics and Poppies Maggie Andrews pp. 5-6 ” id we really send men to fight in that?”The famous line ascribed to the British staff officer, Sir Launcelot Kiggell, has often been evoked to describe the Batt- The Cultural Memory of 1994 D Steven Fielding pp. 7-8 le of Passchendaele and how it is remembered in Britain, writes Nick Lloyd in the first article of this edition of British Politics Review. But as we approach the centenary of Remembering Peterloo John Gardner pp. 9-10 this battle that has come to symbolise the whole British World War 1 experience, Lloyd argues, there are good reasons to present a more nuanced picture than the traditional The Heritage Industry Evolves Brian Goodey pp. 11-12 “tales of mud, blood and futility” which seem to dominate the UK government’s plans for the commemorations this year. Remembering the War on Screen: British Film and Television Drama and the Second World War Siân Nicholas pp. 13-14 Taking Passchendaele as our point of departure, we ask the question: how do the British remember and commemorate the past, and for what purposes and in which con- British Politics Society, Norway is politically neutral and has no text is the past invoked in current debates? Maggie Andrews charts the development collective agenda apart from raising the interest and knowled- of Remembrance Sunday and Poppy appeals as two of the most visual examples of ge of British politics among the informed Norwegian public.
    [Show full text]
  • A Critical Discourse Analysis of Military-Related Remembrance Rhetoric in UK Sport
    Edinburgh Research Explorer A critical discourse analysis of military-related remembrance rhetoric in UK sport Citation for published version: Kelly, J 2020, 'A critical discourse analysis of military-related remembrance rhetoric in UK sport: Communicating consent for British militarism', Communication and Sport (C&S), vol. N/A, pp. 1-21. https://doi.org/10.1177/2167479520971776 Digital Object Identifier (DOI): 10.1177/2167479520971776 Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Communication and Sport (C&S) Publisher Rights Statement: The final version of this paper has been published in Communication and Sport, Vol/Issue, Month/Year by SAGE Publications Ltd, All rights reserved. © John Kelly, 2020. It is available at: https://journals.sagepub.com/doi/10.1177/2167479520971776 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact openaccess@ed.ac.uk providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 Research Article Communication & Sport 1-21 A Critical Discourse ª The Author(s) 2020 Analysis of Military-Related Article reuse guidelines: sagepub.com/journals-permissions DOI: 10.1177/2167479520971776 Remembrance Rhetoric in journals.sagepub.com/home/com UK Sport: Communicating Consent for British Militarism John Kelly1 Abstract Sport has been a major strategic cultural practice used by Western allies to encourage citizens to support and “thank” their governments’ military actors.
    [Show full text]
  • Westminster Abbey
    Westminster Abbey A SERVICE OF THANKSGIVING TO MARK THE 90 TH ANNIVERSARY OF THE ROYAL BRITISH LEGION Tuesday 20 th September 2011 11.00 am 2 NINETY YEARS STANDING SHOULDER TO SHOULDER WITH OUR ARMED FORCES TH THE ROYAL BRITISH LEGION CELEBRATES ITS 90 ANNIVERSARY IN 2011 Following the Armistice of 1918, a great civilian force of men-at-arms came home, only to find that a nation soon forgets. Out of the distress and disappointments, they united in comradeship to form, in 1921, The British Legion. Dedicated to the two-fold task of remembrance and service, it sought to change the whole concept of how a nation should remember and care for those who had suffered as a result of war. The main purpose of the Legion was straightforward: to care for those who had suffered as a result of service in the Armed Forces in the Great War, whether through their own service or through that of a husband, father , or son. The suffering took many forms: the effect of a war wound on a man’s ability to earn a living and support his family; or a war widow’s struggle to give her children an education. Since the Second World War, when there have been more than seventy campaigns involving British Service men and women, the Legion has continued in its caring work of helping the disabled and the needy. Throughout the years that have followed, the Legion – now The Royal British Legion – has come to be recognised as the authoritative voice of the ex-service community.
    [Show full text]
  • Northern Pathways
    NORTHERN PATHWAYS A Guide to Services for the Armed Forces Community in the North of Scotland Foreword By Keith Brown MSP I am pleased to support the launch of the first resource guide for the Armed Forces community in the North of Scotland. This guide has been developed by the team at Poppyscotland Inverness ably supported by members of the local Armed Forces Community Covenant Partners’ groups, and will serve as a vital reference point for members of the Armed Forces community in the North of Scotland. The Highlands of Scotland and the surrounding areas have always been a strong recruiting ground for the Armed Forces. The area has also been home to a significant number of large military bases which has seen many servicemen and women who have been based at them resettle in the areas where they once served. Recent research suggests that the North of Scotland is home to approximately 20% of Scotland’s Armed Forces community. It is, therefore, essential that we empower these individuals with the knowledge of the support that is available to them and I firmly believe that this guide achieves this. The Scottish Government places great importance on our Armed Forces community, most recently set out in our “Renewing Our Commitments” strategy. Consistent with this strategy and the values of the Armed Forces Covenant, I am clear that the whole nation has a moral obligation to members of the Armed Forces and their families. They should suffer no disadvantage as a result of their service and deserve the best possible support, when needed.
    [Show full text]
  • Guide Des Sources Sur La Première Guerre Mondiale Aux A.D
    GUIDE DES SOURCES SUR LA PREMIERE GUERRE MONDIALE AUX ARCHIVES DEPARTEMENTALES DE LA SOMME ARCHIVES DEPARTEMENTALES DE LA SOMME AMIENS — OCTOBRE 2015 Illustration de couverture : carte de correspondance militaire (détail), cote 99 R 330935. Date de dernière mise à jour du guide : 13 octobre 2015. 2 Table des matières abrégée Une table des matières détaillée figure à la fin du guide. INTRODUCTION.......................................................................................................................... 5 GUIDE........................................................................................................................................ 10 K - LOIS, ORDONNANCES, ARRETES ................................................................................................ 12 3 K - Recueil des actes administratifs de la préfecture de la Somme (impr.) .................................... 12 4 K - Arrêtés du préfet (registres)....................................................................................................... 12 M - ADMINISTRATION GENERALE ET ECONOMIE ........................................................................... 13 1 M - Administration generale du département.................................................................................. 13 2 M - Personnel de la préfecture, sous-préfectures et services annexes.......................................... 25 3 M - Plébisistes et élections.............................................................................................................
    [Show full text]
  • Oh What a Lovely War Program
    OH WHAT A LOVELY WAR by Theatre Workshop, Charles Chilton and the members of the original cast Oh What a Lovely War was first performed at the Theatre Royal, Stratford East, London on 19 March 1963. The idea for a chronicle of the First World War, told through the songs and documents of the time, was given flesh and blood in Joan Littlewood’s Theatre Workshop, where every produc- tion was the fruit of close co-operation between writer, actor and director. The whole team participated in detailed research into the period and in the creative task of bringing their material to life in theatrical terms. There is one intermission of 15 minutes THE ‘SHARPSTERS’ COMPANY Kevin Bartz Anthony Vessels Bryan “Boots” Connolly Sean M. Cummings Willa Bograd Jeff Garland Sophia M. Guerrero-Murphy Dustin Harvey Kaitlyn Jaffke Will Lehnertz Holly Marks Roger Miller Kelly Oury Bryan C. Nydegger Leihoku Pedersen Jeff Schreiner Phoebe Piper Scott Sharp Meredith Salimbeni SONGS - ACT I Row, Row, Row – Company We Don’t Want To Lose You – Women Belgium Put the Kibosh on the Kaiser – Willa Bograd (& Kevin Bartz, Jeff Garland, Roger Miller) Are We Downhearted? – Kevin Bartz, Bryan “Boots” Connolly, Jeff Schreiner, Tony Vessels Hold Your Hand Out, Naughty Boy – Women I’ll Make A Man Of You – Leihoku Pedersen & Women We’re ‘ere Because We’re ‘ere – Kevin Bartz, Bryan “Boots” Connolly, Holly Marks, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Pack Up Your Troubles – Kevin Bartz, Bryan “Boots” Connolly, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Hitchy Koo – Kelly Oury & Jeff Schreiner (Dancer) Heilige Nacht – Kevin Bartz, Sean M.
    [Show full text]
  • The Politics and Pedagogy of War Remembrance
    CHD0010.1177/0907568220921226ChildhoodDanilova and Dolan 921226research-article2020 Article Childhood 2020, Vol. 27(4) 498 –513 The politics and pedagogy © The Author(s) 2020 of war remembrance Article reuse guidelines: sagepub.com/journals-permissions https://doi.org/10.1177/0907568220921226DOI: 10.1177/0907568220921226 journals.sagepub.com/home/chd Nataliya Danilova and Emma Dolan University of Aberdeen, UK Abstract Drawing on analysis of learning materials, interviews and ethnographic observations of Scottish education, we analyse how projects aimed at teaching children to remember wars instil war- normalising logics through (a) substitution of self-reflective study of conflict with skill-based knowledge; (b) gendered and racial stereotyping via emphasis on soldier-centric (Scottish/British) nationalisms, localisation and depoliticisation of remembrance; (c) affective meaning-making and embodied performance of ‘Our War’. Utilising Ranciere-inspired critical pedagogy, we explore opportunities for critical engagement with the legacy of conflicts. Keywords Education, emotions, gender, militarisation, performance, remembrance, war Introduction In many countries, the introduction of children to the legacy of conflicts forms a corner- stone of identity and citizenship politics (e.g. Leonard, 2017). The main contribution of this paper lies in analysis of war remembrance education as a powerful yet often over- looked vehicle for engaging with conflicts and state-sanctioned violence. Drawing on analysis of learning materials, interviews and
    [Show full text]