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Recollecting History Beyond Borders
Recollecting History beyond Borders Recollecting History beyond Borders: Captives, Acrobats, Dancers and the Moroccan-American Narrative of Encounters By Lhoussain Simour Recollecting History beyond Borders: Captives, Acrobats, Dancers and the Moroccan-American Narrative of Encounters, by Lhoussain Simour This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Lhoussain Simour All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6684-9, ISBN (13): 978-1-4438-6684-2 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Foreword .................................................................................................... xi Susan Nance Acknowledgments ................................................................................... xvii Introduction ................................................................................................. 1 Chapter One ............................................................................................... 11 Reflections on Moroccan American Discursive and Cultural Encounters Writing Otherness: -
An Iowan with Buffalo Bill: Charles Eldridge Griffin in Europe. 1903-1906
Masthead Logo The Palimpsest Volume 54 | Number 1 Article 2 1-1-1973 An Iowan with Buffalo Bill: Charles Eldridge Griffin inur E ope. 1903-1906 H Roger Grant Follow this and additional works at: https://ir.uiowa.edu/palimpsest Part of the United States History Commons Recommended Citation Grant, H R. "An Iowan with Buffalo iB ll: Charles Eldridge Griffin inur E ope. 1903-1906." The Palimpsest 54 (1973), 2-13. Available at: https://ir.uiowa.edu/palimpsest/vol54/iss1/2 This Article is brought to you for free and open access by the State Historical Society of Iowa at Iowa Research Online. It has been accepted for inclusion in The alP impsest by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. 2 Palimpsest the industry by the turn of the century An Iowan with Buffalo and in 1907 the Ringlings took control of Bill: Charles Eldridge the latter two firms.1 2 With the end of frontier conditions in Griffin in Europe, the late nineteenth century, the American public, now nostalgically viewing the In 1903-1906 dian as a “noble savage,” and craving the raw excitement of a vanishing phase of by their history, flocked to a new variation H. Roger Grant" of the circus, the Wild West show.“ Unlike the circus, the Wild West show featured scenes and events depicting life in the trans-Mississippi West. The first true Since colonial times Americans have Wild West show appeared in 1882 when enjoyed live entertainment. Troupes of William Frederick Cody, “Buffalo Bill, jugglers, aerialists, acrobats, magicians, launched his “Cowboy Fun” extravaganza and clowns have toured the country just in North Platte, Nebraska. -
Diamond Dick” Mcclellan
George B. “Diamond Dick” McClellan 2KANSAS HISTORY DOCTOR DIAMOND DICK Leavenworth’s Flamboyant Medicine Man by L. Boyd Finch ansas was the stage on which a remarkable Evidence of his expertise in self-promotion is found in Victorian-era character strutted for nearly a Wisconsin, Iowa, and Nebraska, as well as in Kansas. Mc- third of a century. George B. McClellan was Clellan enjoyed particular success in Leavenworth in equally at ease in small midwestern cities and 1887–1888. His promotional methods there were memo- K towns, and in the salons of St. Louis and Den- rable; in reporting his accidental death many years later, the ver. He knew the inside of a jail as well as the plush ac- Leavenworth Times did not mention McClellan’s medicines commodations of a private railroad car. One newspaper or his healing techniques; instead, it was his methods of at- writer labeled him “a long-haired quack,” another praised tracting patients that were recounted.2 him for “such wonderful cures in this city and surround- On December 14, 1911, the Kansas City Journal fairly ing country.” He was an itinerant peddler of questionable shouted: “DIAMOND DICK IS DEAD/Picturesque Kansas medical cures, one of hundreds of pitchmen (and a few Character Succumbs to Ry. Accident.” The paper reported: women) who crisscrossed America, usually living on the fringes of society, going wherever they could find cus- George B. McClellan, who advertised himself as “Doc- tomers. Most hawked nostrums with unique names: Indi- tor Diamond Dick” and who was known in every an Sagwa, Seminole Cough Balm, Hindoo Patalka, Ka- Kansas hamlet by his costume, which was copied from that worn by the hero of the old-time “dime Ton-Ka, Modoc Indian Oil. -
Appendix I P. T. Barnum: Humbug and Reality
APPENDIX I P. T. BARNUM: HUMBUG AND REALITY s a candidate for the father of American show business, Barnum’s Awider significance is still being quarried by those with an interest in social and cultural history. The preceding chapters have shown how vari- ety, animal exhibits, circus acts, minstrelsy, and especially freak shows, owe much of their subsequent momentum to his popularization of these amusement forms. For, while Barnum has long been associated in popular memory solely with the circus business, his overall career as an entertainment promoter embraced far more than the celebrated ringmas- ter figure of present-day public estimation. Barnum saw himself as “the museum man” for the better part of his long show business career, following his successful management of the American Museum from the 1840s to the 1860s. To repeat, for all Barnum’s reputation today as a “circus man,” he saw himself first and foremost as a museum proprietor, one who did much to promote and legitimize the display of “human curiosities.”1 While the emergence of an “American” national consciousness has been dated to the third quarter of the eighteenth century, Barnum’s self- presentation was central to the cultural formation of a particular middle- class American sense of identity in the second half of the nineteenth century (see chapter 1), as well as helping to shape the new show business ethos. Over time, he also became an iconic or referential figure in the wider culture, with multiple representations in cinematic, theatrical, and literary form (see below).Yet was Barnum really the cultural pacesetter as he is often presented in popular biographical writing, not to mention his own self-aggrandizing prose. -
A Study of Theatrical Entertainments in Northwest Arkansas from Their Beginning Through 1889
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 A Study of Theatrical Entertainments in Northwest Arkansas From Their Beginning Through 1889. Harold Calvin Tedford Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Tedford, Harold Calvin, "A Study of Theatrical Entertainments in Northwest Arkansas From Their Beginning Through 1889." (1965). LSU Historical Dissertations and Theses. 1094. https://digitalcommons.lsu.edu/gradschool_disstheses/1094 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 66—750 TEDFORD, Harold Calvin, 1933- A STUDY OF THEATRICAL ENTERTAINMENTS IN NORTHWEST ARKANSAS FROM THEIR BEGINNING THROUGH 1889. Louisiana State University, Ph.D., 1965 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A STUDY OF THEATRICAL ENTERTAINMENTS IN NORTHWEST ARKANSAS FROM THEIR BEGINNING THROUGH 1889 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Harold Calvin Tedford B.A., Ouachita College, 1954 M.A., University of Arkansas, 1958 August, 1965 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS The writer wishes to express his sincere appreciation to Professor Claude L. -
TRACT- Prepared in Recognition of the Bicentennial, This Historic Guide of Iowa Is Intended to Supplement Materialsprepared by the Iowa Curriculum Division
DOCUMENT RESUME ED 111 754 SO 008 616 AUTHOR Pratt, LeRoy G. TITLE Discovering Historic Iowa. American Revolution Bicentennial Edition. INSTITUTION IoWi State-Dept. of Puillic Instrution,Des Moines., PUB DATE 75 NOTE 323p, AVAILABLE FROM Information Services, Department of Public Instruction, Grimes State Office Building, Des Moines, Iowa 50319 ($2.00) EDRS PRICE MF-$0.76 HC-$15.86 Plus Postage DESCRIPTORS Colonial History,(United States); Community Cooperation; *Community Education; Educational Resources; Elementary Secondary Education;. Instructional Materials; Reference Materials; *Resource Guides; *Social Studies; Supplementary Reading Materials; *United States4iistory IDENTIFIERS *BicentennialIowa- TRACT- Prepared in recognition of the Bicentennial, this historic guide of Iowa is _intended to supplement materialsprepared by the Iowa Curriculum Division. It provides, inone convenient reference, information for use by teachers, students,. tourists,and others interested in Iowa1s history. Up-tor-date information isgiven on historicalsocieties, museums, archaeological sites, geological areas, botanical preserves, wildlife exhibits, outdoor classrooms, zoos, art centers;., scientific facilities, and places of historicalor cultural interest. The resource unit is arranged in alphabeticaland numerical order. by name and number ofcounty. Names of all known societies, museums, landmarks, sites, natural 'areas, and facilities used for educational purposes are listed alphabeticallyunder each count-y-iAlso-inelndsd-are---a-Ioeation map; an. index; 'a calendar of celebrations, festivals, and historical events;an Iowa map; and an alphabetical index. This resource may be of interestas a model to other states that wish to develop a guide for the Bicentennial. (AuthorpR) *********************************4:************************************ Documents acquired by ERAC-include many informal unpublished * materials not available from other s urces. ERIC makesevery effort 45 * to obtain the best copy available. -
Between the Cracks of History: Essays on Teaching and Illustrating Folklore
DOCUMENT RESUME ED 428 986 SO 029 AUTHOR Abernethy, Francis Edward, Ed.; Satterwhite, Caroly" Fiedler, Ed. TITLE Between the Cracks of History: Essays on Teaching and Illustrating Folklore. Publications of the Texas Folklo- Society: 55. INSTITUTION Texas Folklore Society, Nacogdoches. ISBN ISBN-1-57441-036-9 PUB DATE 1997-00-00 NOTE 290p.; "Illustrations by Cynthia Fisher." AVAILABLE FROM University of North Texas Press, P.O. Box 311336, Denton, TX 76203-1336; Tel: 940-565-2142 ($27). PUB TYPE Collected Works General (020)-- Guides Classroom Teacher (052) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS Cultural Education; *Definitions; *Folk Culture; Heritage Education; Higher Education; Internet; Local History; Oral History; Oral Tradition; State History IDENTIFIERS Folklorists; *Folktales; *Texas ABSTRACT This book is composed of 21 essays that define and illustrate the folklore of Texas. Following the introduction, the six essays concerned with defining are: "Classroom Definitions of Folklore"(F. E. Abernethy); "Defining Folklol'e for My Etudents" (Joyce Roach); "Folklore and Cinema" (Jim Harris); "Toward a Definition of Folk Culture" (Joe S. Graham); "Folklore Fieldwork on the Internet: Some Ethical and Practical Considerations" (Jan Roush); and "Beginning Within: Teaching Folklore the Easy Way" (Rhett Rushing) .The 15 essays ccncerned with illustrating the definitions are: "The Honored Dead: The Ritual of Police Burial" (Phyllis Bridges); "Meaner than Hell!" (Kenneth W. Davis); "Gang Graffiti" (Ken Untiedt); "Gideon Lincecum, 'Killie -
THE SHOWIES Revelations of Australia's Outdoor Side-Showmen
THE SHOWIES Revelations of Australia's Outdoor Side-Showmen BOB MORGAN This generously illustrated book covers a history of the Australian outdoor side-showmen almost from the turn of the twentieth century. It is a colourful profile of seven legendary show people, and records a very special and unique chapter in the history of our community — the entertainers. `The Showies' is synonymous with this special life, they are: Tommy Castles, his wife Shirley (now both deceased), Jimmy Sharman, Tom Wittingslow, Bill Dwyer, Jack Allan and Frankie Foster. Tommy Castles — this ventriloquist, magician, illusionist and famous spruiker, must be classed as the complete showman as will be shown in his contribution The Magic has Gone'. His wife Shirley's story, 'The Front of the Show Gets the Dough', was selected to place on record an appreciation of all those female showies who worked alongside their partners through tough times and good times, and filled in for the men folk either in the drag, up on the line-up board, or in a more domestic role. Jimmy Sharman's story, 'Who'll Take a Glove?' fully covers the life and story of his famous father, and his own fascinating story as a top footballer and a 'follow-up' to his father in one of the toughest of all side-shows — the boxing troupe. From Tommy Wittingslow we have a wonderful life story in his contribution, 'Ladies by Observation, Gents by a little Investigation'. In this he tells of his early struggles, his time as a POW of the Japanese, and ultimate rise above all odds to be sitting on the top of the pile as Australia's best known rides operator. -
Notes on Musicarnival's Production Years, 1954-65
NotesUnder on Musicarnival’s the Production TentYears, 1954-65 UnderNotes on Musicarnival’s the Production Years,Tent 1954-65 * * Written by Bill Rudman and Rebecca Paller To accompany audio restorations produced by The Musical Theater Project The Lt. Col. Robert “Jim” Price Musicarnival Audio Archive is part of the John L. Price, Jr. Musicarnival Archives Copyright © 2017 by The Musical Theater Project except entries written by Rebecca Paller, Barbara Perris, Stanley Green and Ken Bloom Cover design by Steven Schultz Photos courtesy of the John L. Price, Jr. Musicarnival Archives, Cleveland Public Library -ii- The Partnership CLEVELAND PUBLIC LIBRARY serves four million patrons annually at 28 branches across the city, lending more than 6.5 million items from a collection of more than 10 million. CPL’s library services are also available at the Public Administration Library in City Hall; “The People’s University on Wheels” bookmobile; Ohio Library for the Blind and Physically Disabled; and the “On the Road to Reading” literacy van. CPL is the home for the Ohio Center for the Book, CLEVNET library cooperation, and KnowItNow24x7 virtual reference service. For more information, visit www.cpl.org. Dedicated to preserving the rich legacy of the art form, Goodspeed Musicals’ SCHERER LIBRARY OF MUSICAL THEATRE carefully maintains a comprehensive collection of scores, sheet music, scripts, original cast recordings, programs, photographs and theater memorabilia on the Goodspeed campus in East Haddam, Connecticut. These reference tools are utilized by the musical theater community across the nation in the re-creation and revitalization of period musicals and in the creation and development of new works. -
Copyright by Peter Clair Haney 2004
Copyright by Peter Clair Haney 2004 The Dissertation Committee for Peter Clair Haney Certifies that this is the approved version of the following dissertation: CARPA Y TEATRO, SOL Y SOMBRA Show Business and Public Culture in San Antonio’s Mexican Colony, 1900-1940 Committee: Richard R. Flores, Supervisor Deborah Kapchan José Limón Joel Sherzer Kathleen Stewart CARPA Y TEATRO, SOL Y SOMBRA Show Business and Public Culture in San Antonio’s Mexican Colony, 1900-1940 by Peter Clair Haney, M.A., B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2004 Dedication To the memories of Raúl Almaguer, Lalo Astol, Raymundo García, Carlos Monsiváis, Amada Navarro de Monsiváis, and Enrique Valero, all of who made invaluable contributions to this study and did not live to see its completion Acknowledgements This project began fourteen years ago this June, and during that time, I have benefited from the assistance of many people. This dissertation would not have been possible without the financial support of Grinnell College’s Rosenfield Program in Public Affairs, International Relations, and Human Rights, the University of Texas at Austin, the Recovering the U.S. Hispanic Literary Heritage Project at the University of Houston, the Wenner-Gren Foundation for Anthropological Research, and the Rockefeller Foundation through the Guadalupe Cultural Arts Center’s Gateways Humanities Fellowship Program. My parents, Bernard and Carlena Haney, also provided significant financial and moral support during some of the leanest years of my graduate study and deserve special thanks. -
BRISENDINE, ROBERT HAROLD, 1922-2002. Robert Harold Brisendine Papers, 1814-2002
BRISENDINE, ROBERT HAROLD, 1922-2002. Robert Harold Brisendine papers, 1814-2002 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Brisendine, Robert Harold, 1922-2002. Title: Robert Harold Brisendine papers, 1814-2002 Call Number: Manuscript Collection No. 947 Extent: 25.25 linear feet (51 boxes), 7 oversized bound volumes (OBV), and 1 oversized papers box and 2 oversized papers folders (OP) Abstract: Collection of material accumulated by Robert Brisendine relating to circuses, wild west shows, animal exhibitions, vaudeville and variety shows, dramatic repertory companies, minstrel shows, and orchestras and bands. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Researchers must contact the Rose Library in advance to access audio- visual materials in this collection. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Gift of Jackie Fisher and Rod Brisendine, 2002. Custodial History Jackie Fisher is Robert Brisendine's daughter. Rod Brisendine is Robert Brisendine's brother. Citation [after identification of item(s)], Robert Harold Brisendine papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Robert Harold Brisendine papers, 1814-2002 Manuscript Collection No. 947 Appraisal Note Acquired by Director of the Rose Library, Naomi Nelson, as part of the Rose Library's holdings in circus history.