DOCSLIB.ORG

The Practices of Carnival: Community, Culture and Place

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Practices of Carnival:
Community, Culture and Place.

Submitted by

Jonathan Freeman Croose

to the University of Exeter as a thesis for the degree of

Doctor of Philosophy in Geography

May 2014

This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement.

I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University.

……………………………………………………………………..

1

Abstract:

This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and

within the professional Cartwheelin’ and Battle for the Winds street

performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. The ethnographies of both vernacular and professional carnival practice presented in the thesis show how the instrumentalities of carnival are employed as cultural performances and as symbolic constructions of place, power and policy. These ethnographies reveal the contradictory ‘efficacy’ of carnival: how it functions both as a symbolic expression of a progressive, rhizomatic sense of place and also as a normative performance of vertical symbolic power and place-identity. The thesis offers a cultural geography of carnival as praxis in the south west UK, locating it within specific geographical, historical and socio-cultural contexts which have developed since the late 19th century. The thesis also offers a productive contribution to the emerging dialogue between cultural geography and performance studies through its analysis of the performativities of

2participants’ affective, carnivalesque experience: an analysis which articulates how people ritualise and perform the multiple boundaries between individual and community identities through carnival. Further, the thesis considers the means by which people present and enact particular symbolic representations of place and identity through their carnival performances, both in professional and non-professional contexts. In its conclusion and recommendations, the thesis seeks to frame these ethnographies within a critique of carnival practice which is considered through the contested geographies of the ‘creative economy’. It seeks to demonstrate how culture-led processes of policy enactment are increasingly critical influences within carnival and arts development in rural and small-town contexts and within place-based strategies of public engagement. Further, the thesis seeks to consider the effects that this hegemony has on ‘vernacular’ practices of carnival. The thesis adds a further voice to those cultural geographers who warn about the diminishing public space which is now available to people for spontaneous, ‘non-productive’ carnival festivity in the context of globalised late capitalism and ‘applied’ culture. Finally, the thesis offers a proposed remedy: a re-imagination of progressive structures of public engagement through culture; structures which support ‘vernacular’ practice alongside the instrumentalities of arts-development and public policies of place, in tune with a growing alternative discourse which seeks to ‘rethink the cultural economy.’

3

Contents:

  • Abstract.
  • 2

  • Contents.
  • 4

List of illustrations, figures and tables. Abbreviations
10 14

  • 15
  • Acknowledgements.

Chapter One: Introduction:

18

  • 18
  • 1:1

1:2 1:3 1:4
The situated researcher: conceptualising carnival and street procession.

  • Cultural democracy and the democratisation of culture.
  • 23

26 34
Carnivals & the Jurassic Coast: research contexts and CDA development. Carnival collaborations: University of Exeter and the Jurassic Coast WHS.

  • 1:5
  • Researching carnival: the aims of this thesis.

1.5:1: Research Questions and Objectives Thesis structure.
36 38

  • 42
  • 1:6

Chapter Two: Carnival, procession and the carnivalesque: contexts and discourses.

49 49 51 56 58 64 69
2:1 2:2 2:3:
What is carnival? The carnivalesque experience. Geographies of Processional Culture in the UK 2.3:1: UK Processional Culture: A Brief Historiography. 2:3:2 Pageants and parades.

  • 2:4
  • Carnivals in the south west UK: gunpowder, charity & the seaside:

4

2:4:1 Gunpowder carnivals and the illuminated circuits. 2:4:1a: Fieldwork locations: Demographic information 2:4: 2 Charity and seaside carnivals:
73 80 82 82 83 87 94

  • (i)
  • ‘Hospital’ parades.

(ii) (iii) (iv)
Parading philanthropy. Weymouth Carnival. Seaton’s seaside carnival.

  • 2:5
  • Resuscitations of cultural performance: the influence of UK alternative theatre

  • post-1960.
  • 98

2:6 2:7
Developments in cultural policy: from the fringes to the mainstream. Conclusions.
111 127

Chapter Three:A Qualitative Methodology.

133 133 134 134 136 137 141 143 143 144 145
3:1 3:2 3:3
Why Qualitative Research? 3:1:1 Ethnography and Participant Observation 3:1:2: Attempting Grounded Theory Access to the field 3:2:1 ‘Professional’ Participations 3:2:2 ‘Vernacular’ Participations

  • Research Practices
  • .

3:3:1 Performance-as-Research 3:3:2 Interviewing 3:3:3 Programme of Research

5

  • 3:4:
  • Negotiating ‘role’ in research
  • 146

149 150 154 156
3:4:1 Negotiating ‘role’ in vernacular settings 3:4:2 Professional challenges, professional compromises?

  • Exiting the Field
  • 3:5

3:6 3:7
Practical methods of data recording and inscription. Processing Fieldnotes:
Coding, Data Analysis, Inscription and the ‘re-construction of reality 3:7:1: From Code to Inscription
157 159

3:8 3:9

  • Ethics.
  • 163

165
Conclusions: Critiquing the method and the offer of the following empirical chapters

Chapter Four: The performativity of carnival: affects and emotions; events and stories.

169

  • 169
  • 4:1
  • Research questions

4:1:1 Carnival as liminality. Theoretical frameworks:
170

  • 172
  • 4:2

  • 4:2:1 Performativity
  • 172

  • 173
  • 4:2:2 Affects, events, representations and stories.

  • 4:3
  • Carnival affects:
  • 177

  • 177
  • 4:3:1 The ‘energy’ of carnival.

  • 4:3:2 Performative transformation.
  • 185

193 199
4:3:3 Transgression. 4:3:4 ‘Fun with restrictions’: sanction, permission and structures of control.

6

4:3:5 Carnival and alcohol: sobriety, ‘good’ drinking and ‘bad’ drinking. 4:3:6 Affects of ritual in carnivalesque street procession. 4:3:7 Carnival as ‘social drama’.
206 212 219

  • 229
  • 4:4
  • Conclusions.

Chapter Five: carnival, place and identity.

233 233 234 240 248 256 266 270 277 282 284 295

  • 5:1
  • Research Question

5:1:1 Theoretical frameworks.

  • 5:2
  • Battle for the Winds: carnival and the cultural politics of place:

5:2:1 Performing the ‘identity’ of the S-West UK during the 2012 Olympiad. 5:2:2 Symbolic geographies of Battle for the Winds. Place as a contested symbolic construction: 5:3:1 ‘In-place’ and ‘out-of-place’ vocabularies of carnival. 5:3:2 The Weymouth Carnival Conflict:
5:3 5:4 5:5
Progressive and carnivalesque notions of place: 5:4:1 Seaton Carnival Day: Conclusions.

Chapter Six: Carnival and the symbolic construction of community.

299 299 301 306

  • 6:1
  • Research Question

6:1:1 The conceptualisation of community.

  • Boundary, inclusion and exclusion.
  • 6:2

7

6:3 6:4 6:5 6:6
Communion, togetherness and attachment. Communities of practice.
318 323 331 342
‘Community’ and ‘carnival’ as moral values. Conclusions.

Chapter Seven: Towards a Vernacular Creativity:

7:1: Research Questions
347 347 348 349 350 353 358 371 387
7:1:1 Vignette: Lyme Regis Fossil Festival, 3.5.12 to 7.5.12. 7:2 7:3
Fieldnote, Westham Community Carnival Club, 14.8.12. Theoretical frameworks. 7:3:1 Vernacular creativity and the creative economy. The art and non-art of carnival: ‘creativity’ and ‘acceptable’ aesthetics. The vernacular (non?) art of carnival.
7:4 7:5

  • 7:6
  • Conclusions.

Chapter 8: Thesis Conclusions:

393
8:1 8:2 8:3 8:4
Responses to the Research Questions Contribution to Knowledge Recommendations
393 403 406

  • 408
  • Last words

Bibliography

411

8

Appendix 1: Data Set (anonymised).

440 448 452 457
Appendix 2: Weymouth Carnivals: Schedule of resources at Weymouth Library.

Appendix 3: List of research participants (anonymised). Appendix 4: Copy of Consent Form

9

List of illustrations, figures and tables.

Fig 1 Illustration from a late 17th / early 18th century broadside ballad detailing the Gunpowder
Plot and asserting the deliverance of James 1 by divine power. Source: EBBA ID: 20990, Magdalene College, Pepys 2.370.

http://ebba.english.ucsb.edu/ballad/20990/image accessed 27.3.13

Fig 2 Skeleton band members, Parliament in Flames. Milton Keynes (1978).
Photo: Daniel Meadows.

Source:http://www.unfinishedhistories.com/history/companies/welfare-state-international/

Accessed 26.3.13
Fig 3 Map of the Dorset and East Devon (Jurassic) Coast World Heritage Site.

Source: http://www.jurassicstudycentre.co.uk/webdocs/images/jc_map.jpg

Accessed 27.3.13
Fig 4 Moving Tides procession, 2012.

Source: https://en-gb.facebook.com/MovingTides2012?hc_location=timeline

Accessed 27.3.13
Fig 5 Battle for the Winds logo, 2012

Source: http://www.metoffice.gov.uk/media/image/d/t/512x288-battle-winds-logo.jpg

Accessed 27.3.13
Fig 6 Cartwheelin’ publicity poster, Activate Performing Arts, 2012. Fig 7 Like a Fish Needs a Bicycle: Walking entrant, Weymouth Carnival, 2012. Fig 8 Frontispiece, Taunton Pageant pamphlet depicting the “presentation of Bible, sword and colours to the Duke of Monmouth by the fair maids of Taunton Deane, June 1685”. Source: Book of the Taunton Pageant (Taunton 1928), in Woods, 1999: 69.

Fig 9 Harlequins Carnival Club Float, Bridgwater Carnival, 2013

Source: http://duck-in-a-dress.blogspot.co.uk/2013/11/day-5-bonfire-night.html

Accessed 31.3.14
Fig 10 Weymouth Carnival procession 1956. HERBERT COLLECTION 3211. Fig 11 Minstrels in blackface, Seaton Carnival, circa 1930. Source: Seaton Museum. Fig 12 RNLI float, Seaton Carnival, 1951. Source: Seaton Museum. Fig 13 Notting Hill Carnival, 1981.

Source:http://www.largeup.com/2012/08/23/throwback-thursdays-vintage-notting-hill-carnival-videos/

Accessed 26.3.14
Fig 14 A reveller confronts a policeman at the 1976 Notting Hill carnival.
Photograph: Homer Sykes.

Source:http://www.theguardian.com/culture/2011/aug/25/importance-notting-hill-carnival-riots

Accessed 26.3.14
Fig 15 Luton Carnival, 2012. Photo by Geoff Collins.

Source: http://www.carnivalarts.org.uk

Accessed 28.3.14

10

Fig 16 Big Heads, Frome Carnival, 2011.

Source: http://www.homeinfrome.org.uk/#/big-heads-carnival-2011/4569450790

Accessed 28.3.14
Fig 17 Why Cheap Art? Manifesto, Bread and Puppet Theatre

Source:http://breadandpuppet.org/wp-content/uploads/2012/05/why-cheap-art-manifesto.-001.jpg

Accessed 28.3.14.
Fig 18 The Skeleton, the Pilot and the Rainbow Fish, Welfare State: Lyme Park Festival, 1981.
Photo: Ged Murray.

Source:http://www.unfinishedhistories.com/history/companies/welfare-state-international/

Fig 19 Storyweir, Proboscis. Site specific artwork, Jurassic Coast, 2012.
Photo: Pete Millson

Source: http://www.bridport-arts.com/2012/09/exploratory-laboratory-exhibition-brings- art-science-jurassic-coast-gallery/

Accessed 31.3.14
Fig 20 The Sultan's Elephant, by Royale De Luxe, London, 7.5.06. (Reuters/Stephen Hird)

Source: http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5TT.jpg

Accessed 31.3.14
Fig 21 Performance-as-research. The author (foreground) participating with the Cartwheelin
BFTW crew, Weymouth, July 2012

Fig 22 Making session at Westham Community Carnival Club, June 2012. Fig 23 Participants in fancy dress. Chickerell Carnival Club Float, Weymouth Carnival, 2012 Fig 24 Dragon Boat Float, Seaton Carnival, 2012. Fig 25 ‘Martha’ transformed. Weymouth Carnival, 2012. Fig 26 ‘Martha’ transformed. Weymouth Carnival, 2012. Fig 27 UNISON NHS Float, Weymouth Carnival, 2012. Fig 28 Police arrest following a fight outside a bar, Weymouth Carnival, 2012. Fig 29 Torch-wading ritual, Battle for the Winds, Weymouth, 2012. Fig 30 Bridgwater Carnival Squibbers at Battle for the Winds, Weymouth 2012

Source: http://press.artscouncil.org.uk/Press-Releases/2012-people-wade-into-the-sea- to-mark-the-start-of-London-2012-sailing-events-6af.aspx

Accessed 31.3.14
Fig 31 Team GB Sailors lead the procession at Weymouth Carnival, 2012

Source: http://www.parkedge.co.uk/archives/553/team-gb-sailors-at-weymouth-carnival-14

Accessed 31.3.14
Fig 32 Cartwheelin’ at Lyme Regis, Battle for the Winds, 2012. Photo: Maisie Hill. Fig 33 Walking to the procession. Westham CC members, Weymouth Carnival, 2012. Fig 34 Doldrum, Battle for the Winds character ‘made’ from Jurassic Coast stone.
Photo by Jim Wileman

Source: http://aub.ac.uk/courses/ba/ba-costume-with-performance-design/staff-research/

Accessed 1.04.14
Fig 35 Battle for the Winds torch waders. Photo by Penny Piddock

Source:http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the %20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg

11

Accessed 1.04.14
Fig 36 Plesiosaur puppet, Moving Tides, 2012.
Photo by Alan Rogers

Source: https://www.facebook.com/MovingTides2012/photos/pb.341707872506503.- 2207520000.1396339766./528762710467684/?type=3&theater

Accessed 1.04.14
Fig 37 ‘Rosie Blower’ - Dorset Wind Champion, Battle for the Winds, Weymouth, 2012. Fig 38 Arrival of Doldrum, with help from the Royal Navy.

Battle for the Winds, Weymouth, 2012.

Source: http://www.cirquebijou.co.uk/assets/images/News%20Stories/Arrival%20of%20Doldrum%20- %20Royal%20Navy%20-%20news.jpg

Accessed 1.4.14

Fig 39 The Good Ship Kernocopia, Battle for the Winds, Weymouth, 2012.

Fig 40 The Severn Bore, Gloucestershire Wind Vessel, Battle for the Winds, Weymouth, 2012.

Source: http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html

Accessed 1.4.14
Fig 41 Vera, Bristol / West of England Wind Vessel, Battle for the Winds, Weymouth, 2012.

Source: http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html

Accessed 1.4.14
Fig 42 ‘Devon’ procession, Exeter, Battle for the Winds, 2012.

Source:http://southdevontextiles.files.wordpress.com/2012/05/high-st1.jpg

Accessed 1.4.14

Fig 43 Devon Wind Vessel, Battle for the Winds, 2012. Photo by Clive Chilvers

Recommended publications
  • Cornishness and Englishness: Nested Identities Or Incompatible Ideologies?

    Cornishness and Englishness: Nested Identities Or Incompatible Ideologies?

    CORNISHNESS AND ENGLISHNESS: NESTED IDENTITIES OR INCOMPATIBLE IDEOLOGIES? Bernard Deacon (International Journal of Regional and Local History 5.2 (2009), pp.9-29) In 2007 I suggested in the pages of this journal that the history of English regional identities may prove to be ‘in practice elusive and insubstantial’.1 Not long after those words were written a history of the north east of England was published by its Centre for Regional History. Pursuing the question of whether the north east was a coherent and self-conscious region over the longue durée, the editors found a ‘very fragile history of an incoherent and barely self-conscious region’ with a sense of regional identity that only really appeared in the second half of the twentieth century.2 If the north east, widely regarded as the most coherent English region, lacks a historical identity then it is likely to be even more illusory in other regions. Although rigorously testing the past existence of a regional discourse and finding it wanting, Green and Pollard’s book also reminds us that history is not just about scientific accounts of the past. They recognise that history itself is ‘an important element in the construction of the region … Memory of the past is deployed, selectively and creatively, as one means of imagining it … We choose the history we want, to show the kind of region we want to be’.3 In the north east that choice has seemingly crystallised around a narrative of industrialization focused on the coalfield and the gradual imposition of a Tyneside hegemony over the centuries following 1650.
  • Sol\!ERSET I [KELLY'8 T

    Sol\!ERSET I [KELLY'8 T

    • • • SOl\!ERSET I [KELLY'8 t . • Mellor .Alfred Somerville Arthur Fownes LL.B. (deputy chairman of Middleton Charles Marmaduke quarter sessions), Dinder house, Wells *Mildmay Capt. Charles Beague St. John- R.A. Hollam, Southcombe Sidney Lincoln, Highlands, .A.sh, Martock Dulverton Sparkes SI. Harford, Wardleworth, Tonedale, Wellingtn Mildmay Capt. Wyndham Paulet St. John . *Speke Col. Waiter Hanning, Jordans, Ilminster Miller John Reynolds, Haworth, High street, WellinO'ton Spencer Huntly Gordon l\Iinifie Mark, 27 Montpelier, Weston-super-Mare "' Staley Alfd. Evelyn, Combe Hill,Barton St.David,Tauntn l\Ioore Col. Henry, Higher W oodcomhe, Minehead Stanley Edward Arthur Vesey, Quantock lodge, Over Morland John, Wyrral, Glastonbury Stowey, Bridgwater 1\forland John Coleby, Ynyswytryn, Glastonbury Stanley James Talbot Mountst•even Col. Francis Render C.M.G. Odgest, Ston Staunton-Wing George Stauntoll, Fitzhead court,Tauntn Easton, Bath Stead Maurice Henry, St. Dunstan's, Magdalene street, Murray-Anderdon Henry Edward, Henlade ho. Taunton Glastonbury *Napier Lieut.-Col. Gerard Berkeley, Pennard house, Stenhouse Col. Vivian Denman, Netherleigh, Blenheim Shepton Mallet ' road, :M:inehead Napier Henry Burroughes, Hobwell,Long Ashton,Bristol Stothert Sir Percy Kendall K.B.E. Woolley grange, Nathan Lieut.-Col. Right Hon. Sir Matthew G.C.M.G., Bradford-on-Avon, Wilts R.E., K 2 & 4 Albany, London W I Strachey Capt. Hon. Edward, Sutton court, Pensford, Naylor James Richard C.S.I. Hallatrow court, Bristol Bristol Neville Adm.Sir George K.C.B., C.V.O. Babington house, Strachey Richard Sholto, .Ashwick grove, Oakhill, Bath near Bath ' *Strachie Lord, Sutton court, Pensford, Bristol; & 27 *~e~ille Grenville Robert, Bntleigh court, Glastonbury Cadogan gardens, London SW 3 .
  • Keynsham Station I Onward Travel Information Buses Local Area Map

    Keynsham Station I Onward Travel Information Buses Local Area Map

    Keynsham Station i Onward Travel Information Buses Local area map Key Key km 0 0.5 A Bus Stop LC Keynsham Leisure Centre 0 Miles 0.25 Station Entrance/Exit M Portavon Marinas Avon Valley Adventure & WP Wildlife Park istance alking d Cycle routes tes w inu 0 m Footpaths 1 B Keynsham C Station A A bb ey Pa r k M D Keynsham Station E WP LC 1 1 0 0 m m i i n n u u t t e e s s w w a a l l k k i i n n g g d d i i e e s s t t c c a a n n Rail Replacement Bus stops are by Keynsham Church (stops D and E on the Bus Map) Stop D towards Bristol, and stop E towards Bath. Contains Ordnance Survey data © Crown copyright and database right 2018 & also map data © OpenStreetMap contributors, CC BY-SA Main destinations by bus (Data correct at October 2019) DESTINATION BUS ROUTES BUS STOP DESTINATION BUS ROUTES BUS STOP DESTINATION BUS ROUTES BUS STOP 19A A E Hanham 17 C Radstock 178 E Bath City Centre ^ A4, 39 E Hengrove A4 D 19A A E Bilbie Green 349 D High Littleton 178 E Saltford 39, A4 E 39, 178, A4 D Highridge A4 D 664* B E Brislington 349 E Hillfields 17 C Southmead Hospital 17 C 39, 178 D 663* B E Staple Hill 17, 19A C Keynsham - Chandag Bristol City Centre Estate 349 E 178** E Timsbury 178 E Willsbridge (for Avon Valley Bristol Airport A4 D 349 E 17, 19A C Keynsham - Park Estate Railway) Bristol Parkway ^ 19A C 665* B E UWE Frenchay Campus 19A C 39, 178 D Kingswood 17, 19A C Bristol Temple Meads ^ 349 E Longwell Green 17 C Cribbs Causeway 19A C Marksbury 178 E Downend 19A C Midsomer Norton 178 E Notes Eastville 17 C 19A A E Newton St Loe Bus routes 17, 39 and A4 operate daily.
  • The Copyright of This Recording Is Vested in the BECTU History Project

    The Copyright of This Recording Is Vested in the BECTU History Project

    Yvonne Littlewood Tape 1 Side A This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Yvonne Littlewood, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above).
  • Information Requests PP B3E 2 County Hall Taunton Somerset TA1 4DY J Roberts

    Information Requests PP B3E 2 County Hall Taunton Somerset TA1 4DY J Roberts

    Information Requests PP B3E 2 Please ask for: Simon Butt County Hall FOI Reference: 1700165 Taunton Direct Dial: 01823 359359 Somerset Email: [email protected] TA1 4DY Date: 3 November 2016 J Roberts ??? Dear Sir/Madam Freedom of Information Act 2000 I can confirm that the information you have requested is held by Somerset County Council. Your Request: Would you be so kind as to please supply information regarding which public service bus routes within the Somerset Area are supported by funding subsidies from Somerset County Council. Our Response: I have listed the information that we hold below Registered Local Bus Services that receive some level of direct subsidy from Somerset County Council as at 1 November 2016 N8 South Somerset DRT 9 Donyatt - Crewkerne N10 Ilminster/Martock DRT C/F Bridgwater Town Services 16 Huish Episcopi - Bridgwater 19 Bridgwater - Street 25 Taunton - Dulverton 51 Stoke St. Gregory - Taunton 96 Yeovil - Chard - Taunton 162 Frome - Shepton Mallet 184 Frome - Midsomer Norton 198 Dulverton - Minehead 414/424 Frome - Midsomer Norton 668 Shipham - Street 669 Shepton Mallet - Street 3 Taunton - Bishops Hull 1 Bridgwater Town Service N6 South Petherton - Martock DRT 5 Babcary - Yeovil 8 Pilton - Yeovil 11 Yeovil Town Service 19 Bruton - Yeovil 33 Wincanton - Frome 67 Burnham - Wookey Hole 81 South Petherton - Yeovil N11 Yeovilton - Yeovil DRT 58/412 Frome to Westbury 196 Glastonbury Tor Bus Cheddar to Bristol shopper 40 Bridport - Yeovil 53 Warminster - Frome 158 Wincanton - Shaftesbury 74/212 Dorchester
  • Sanborns Win Mixed Pairs Glasthal Wins 10K KO

    Sanborns Win Mixed Pairs Glasthal Wins 10K KO

    Thursday, March 28, 2019 Volume 61, Number 7 Daily Bulletin 61st Spring North American Bridge Championships [email protected] Editors: Paul Linxwiler, Sue Munday and Chip Dombrowski Vandy top seed toppled The team led by Richard Pavlicek defeated Sanborns win Mixed Pairs the top-seeded Marty Fleisher team on Steve and Kerri Sanborn of Delray Beach Wednesday, 149–111. Playing with Pavlicek are FL won the four-session Rockwell Mixed Pairs Jim Munday, Frank Merblum and Doug Doub. by a fraction of a board over runners-up Pamela Fleisher played with Joe Grue, Chip Martel, Brad and Matthew Granovetter of Cincinnati. The Moss, Geoff Hampson and Eric Greco. Today, Sanborns, who qualified 10th in Tuesday’s Pavlicek, originally seeded 33, takes on 16 seed qualifying round, scored 64.36% in the first final Jeffrey Wolfson. session and 57.11% in the second to finish with In other upset news: Jimmy Cayne’s No. 6 3501.45 matchpoints. The Granovetters were squad fell to Jim Mahaffey’s No. 27 team 119–87, second with 3485.84 on a 103 top. while Vinita Gupta, No. 7, was sidelined by the This is the second NABC title for the No. 26 seed, Dano De Falco, 153–108. Pierre Sanborns as a pair. They won the NABC+ Mixed continued on page 7 Swiss Teams in 2015. It is the second NABC title Conventional tunes continued on page 5 By Bob Levey Winners of the Rockwell Mixed Pairs, Steve Rock and roll came of age when I did. It’s and Kerri Sanborn. still my preferred sing-along playlist in the shower, the car, the subway, wherever a back beat and a four-part ooh-wah are needed to boost my Glasthal wins 10K KO mood and my blood pressure.
  • Table of Contents

    Table of Contents

    National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival.
  • West of England South Road Combine Littlehampton 9Th June 2018 162 Members 18 Clubs 2006 Birds. Liberated at 9.15Am in No Wi

    West of England South Road Combine Littlehampton 9Th June 2018 162 Members 18 Clubs 2006 Birds. Liberated at 9.15Am in No Wi

    WEST OF ENGLAND SOUTH ROAD COMBINE LITTLEHAMPTON 9TH JUNE 2018 162 MEMBERS 18 CLUBS 2006 BIRDS. LIBERATED AT 9.15AM IN NO WIND THIS RACE KINDLY SPONSORED BY BARTHOLOMEWS Name Club Ring Number Colour Sex Distance AFT Velocity 1 A George Broad Plain GB17N51560 Blue C 98/1316 1:47:31 1616.456 2 Mr & Mrs Hodges Glastonbury GB16N74949 Cheq H 84/313 1:31:45 1614.834 3 M Chwedoruk Glastonbury GB17V38647 Cheq C 97/751 1:46:15 1613.917 4 M Chwedoruk Glastonbury GB17V38621 Cheq C 97/751 1:46:15 1613.917 5 M Chwedoruk Glastonbury PL1604415783 Cheq H 97/751 1:46:16 1613.664 6 P Barry Broad Plain GB17N54193 Blue C 99/445 1:48:19 1612.725 7 M Chwedoruk Glastonbury PL1604416664 Cheq H 97/751 1:46:20 1612.653 8 M Chwedoruk Glastonbury GB17V38641 Blue Pd C 97/751 1:46:22 1612.147 9 Mrs S Nutt Glastonbury GB17N58337 Cheq C 98/1280 1:47:49 1611.703 10 B Goodwin Midsomer Norton GB17B08782 Blue H 90/743 1:38:49 1610.487 11 B Goodwin Midsomer Norton GB16Z81407 Blue C 90/743 1:38:52 1609.673 12 S Wilcox Towers GB17N71210 Blue H 100/147 1:49:28 1609.209 13 S Wilcox Towers GB17N71278 Blue H 100/147 1:49:29 1608.964 14 M Staddon Crewkerne GB15N08387 Blue C 99/146 1:48:34 1606.330 15 S Wilcox Towers GB17N71256 Blue H 100/147 1:49:42 1605.786 16 M Staddon Crewkerne GB17N24342 Cheq H 99/146 1:48:42 1604.360 17 M Staddon Crewkerne GB17N08878 Cheq C 99/146 1:48:42 1604.360 18 M Staddon Crewkerne GB17N08806 Dark Ch C 99/146 1:48:45 1603.630 19 Mr & Mrs Rakes Midsomer Norton GB17N40305 Blue C 91/951 1:40:30 1603.095 20 B Goodwin Midsomer Norton GB17F23265 Blue H 90/743
  • BATH 171 Via Midsomer Norton

    BATH 171 Via Midsomer Norton

    PAULTON - BATH 171 via Midsomer Norton - Radstock PAULTON - BATH 172 via Midsomer Norton, Radstock WELLS - BATH 173 via Gurney Slade, Chilcompton, Midsomer Norton, Radstock WELLS - BATH 174 via Shepton Mallet, Midsomer Norton, Radstock Service Number 171 171 173 171 171 174 171 171 173 174 171 172 174 172 171 Wells, Bus Station ----- ----- 0539 ----- ----- 0609 ----- ----- 0639 0639 ----- ----- 0709 ----- ----- Croscombe, The George ----- ----- ----- ----- ----- 0620 ----- ----- ----- 0650 ----- ----- 0720 ----- ----- Shepton Mallet, Cenotaph ----- ----- ----- ----- ----- 0629 ----- ----- ----- 0659 ----- ----- 0729 ----- ----- Oakhill, Primary School ----- ----- ----- ----- ----- 0637 ----- ----- ----- ----- ----- ----- 0737 ----- ----- Stratton-on-the-Fosse, Abbey Road ----- ----- ----- ----- ----- 0645 ----- ----- ----- ----- ----- ----- 0745 ----- ----- South Horrington, Upper Breach ----- ----- 0549 ----- ----- ----- ----- ----- 0649 ----- ----- ----- ----- ----- ----- Gurney Slade, Station Road ----- ----- 0601 ----- ----- ----- ----- ----- 0701 ----- ----- ----- ----- ----- ----- Chilcompton, Church House ----- ----- 0612 ----- ----- ----- ----- ----- 0712 ----- ----- ----- ----- ----- ----- Paulton, Paper Lane ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- 0720 ----- ----- ----- Farrington Gurney, Main Street ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- 0726 ----- ----- ----- Farmbrough, Butchers Arms 0513 0533 ----- 0603 0613 ----- 0633 0643 ----- ----- 0703 ----- ----- ----- ----- Paulton,
  • A Mencap Doing... Arts Series Guide to Running Arts Projects with People with a Learning Disability Doing

    A Mencap Doing... Arts Series Guide to Running Arts Projects with People with a Learning Disability Doing

    Doing... carnival A Mencap Doing... arts series guide to running arts projects with people with a learning disability Doing... arts guides are available free to download in the resources section at www.artspider.org.uk Doing... carnival has been granted the prestigious London 2012 Inspire mark, the badge of the London 2012 Inspire programme which recognises exceptional and innovative projects inspired by the 2012 Games. The Inspire programme is run by the London Organising Committee of the Olympic and Paralympic Games. It is an opportunity for everyone to be a part of the London 2012 Games – a broad participation programme spanning sport participation, education, sustainability, volunteering, and business opportunities and skills. New opportunities are being created to inspire young people and encourage the whole of the UK to join in. All photos courtesy of Strange Cargo, and Hammersmith and Fulham Action on Disability. All individual quotes courtesy of Mencap National College at Dilston and Hammersmith and Fulham Action on Disability. 2 | Doing... carnival Doing... carnival | 3 Doing … Contents carnival Forewords 4 Introduction 6 What is carnival? 7 Preparation 7 The legacy 8 Sustainability 8 Part one - Being part of a carnival The theme 9 The route 9 Licensing, health and safety 9 Funding 9 Making the costumes 10 Music sessions 30 Photography 30 Part two - Planning your own carnival Introduction 31 Preparation and planning 31 The theme 35 The route 35 More on licensing, health and safety 36 Budgeting and funding 38 Publicity and marketing 41 Appendix Resources 44 Contacts 46 Press release template 47 Photography consent form 48 Video consent form 54 2 | Doing..
  • Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton

    Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton

    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-5-2012 Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton Benjamin O. Rollins Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Rollins, Benjamin O., "Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/79 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. CARNIVAL’S DANCE OF DEATH: FESTIVITIY IN THE REVENGE PLAYS OF KYD, SHAKESPEARE, AND MIDDLETON by BENJAMIN ROLLINS Under the Direction of Paul Voss ABSTRACT Through four hundred years of accumulated disparaging comments from critics, revenge plays have lost much of the original luster they possessed in early modern England. Surprisingly, scholarship on revenge tragedy has invented an unfavorable lens for understanding this genre, and this lens has been relentlessly parroted for decades. The all-too-familiar generic approach that calls for revenge plays to exhibit a recurring set of concerns, including a revenge motive, a hesitation for the protagonist, and the revenger’s feigned or actual madness, imply that these plays lack philosophical depth, as the appellation of revenge tends to evoke the trite commonalities which we have created for the genre. This dissertation aims to rectify the provincial views concerning revenge tragedies by providing a more complex, multivalent critical model that makes contemporary outmoded approaches to this genre.
  • Carnival-Spirit-Deck-Plan.Pdf

    Carnival-Spirit-Deck-Plan.Pdf

    Carnival Spirit Deck Plan Dressiest Roland designating, his microtomists unstep compiled laterally. Unpardoning Kennedy reconsecrates his curvature Scriabin polygonally. Denny lucubrated athletically. Fantasy Football Rankings, as well. BTS is spending a successful second week ahead the Billboard Charts! Noise until tonight at night shall be made concern although these cabins. The song is sharp the sinking of schedule ship. Customs records for carnival spirit. This deck plans pdf resources needed in carnival spirit gives you who specialize in. Keeping these topics for your dreams you with no decisions made of vancouver vessel schedule daily position carnival spirit deck plan search by. Contact an array of deck plan menu plus reduced deposits are assigned to do this game set a virtual classroom. The carnival sunshine dry dock at any time of any of your power and carnival spirit have fun to instantly interpret what. Javascript has a deck plans and planning for a potential destination is arranged alphabetically, reducing overall cost increases for its. Cruise Ship Information Photos Deck Plans Layouts and Details of Cabins Staterooms and Suites Home Cruise Pricing Book a Cruise Blog Webcams Ship. The bottom trace the technical space was soiled with old dried coffee grounds. Perfect for contact free birthdays, family, an Orbitz specialist can help people find the literary property experience you. The pantry and lap bar recipe in active use through the time hide the inspection. Title for membership at your plan works in port of plans do you know our links how you find who sailed on a chore. We paid good yield for the cruise and conceal not even wash our dirty socks and update once.