<p><strong>The Practices of Carnival: </strong><br><strong>Community, Culture and Place. </strong></p><p>Submitted by </p><p><strong>Jonathan Freeman Croose </strong></p><p>to the University of Exeter as a thesis for the degree of </p><p><em>Doctor of Philosophy in Geography </em></p><p>May 2014 </p><p>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. </p><p>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. </p><p>…………………………………………………………………….. </p><p>1</p><p><strong>Abstract: </strong></p><p>This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and </p><p>within the professional <em>Cartwheelin’ </em>and <em>Battle for the Winds </em>street </p><p>performances which were staged as part of the <em>Maritime Mix </em>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.&nbsp;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.&nbsp;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 19<sup style="top: -0.3833em;">th </sup>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 </p><p>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.&nbsp;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.’ </p><p>3</p><p><strong>Contents: </strong></p><p></p><ul style="display: flex;"><li style="flex:1">Abstract. </li><li style="flex:1">2</li></ul><p></p><ul style="display: flex;"><li style="flex:1">Contents. </li><li style="flex:1">4</li></ul><p>List of illustrations, figures and tables. Abbreviations <br>10 14 </p><ul style="display: flex;"><li style="flex:1">15 </li><li style="flex:1">Acknowledgements. </li></ul><p></p><p><strong>Chapter One:&nbsp;Introduction: </strong></p><p>18 </p><ul style="display: flex;"><li style="flex:1">18 </li><li style="flex:1">1:1 </li></ul><p>1:2 1:3 1:4 <br>The situated researcher: conceptualising carnival and street procession. </p><ul style="display: flex;"><li style="flex:1">Cultural democracy and the democratisation of culture. </li><li style="flex:1">23 </li></ul><p>26 34 <br>Carnivals &amp; the Jurassic Coast: research contexts and CDA development. Carnival collaborations: University of Exeter and the Jurassic Coast WHS. </p><ul style="display: flex;"><li style="flex:1">1:5 </li><li style="flex:1">Researching carnival: the aims of this thesis. </li></ul><p>1.5:1: Research&nbsp;Questions and Objectives Thesis structure. <br>36 38 </p><ul style="display: flex;"><li style="flex:1">42 </li><li style="flex:1">1:6 </li></ul><p></p><p><strong>Chapter Two: Carnival, procession and the carnivalesque: contexts and discourses. </strong></p><p>49 49 51 56 58 64 69 <br>2:1 2:2 2:3: <br>What is carnival? The carnivalesque experience. Geographies of Processional Culture in the UK 2.3:1: UK&nbsp;Processional Culture: A Brief Historiography. 2:3:2 Pageants&nbsp;and parades. </p><ul style="display: flex;"><li style="flex:1">2:4 </li><li style="flex:1">Carnivals in the south west UK: gunpowder, charity &amp; the seaside: </li></ul><p></p><p>4</p><p>2:4:1 Gunpowder&nbsp;carnivals and the illuminated circuits. 2:4:1a: Fieldwork locations: Demographic information 2:4: 2&nbsp;Charity and seaside carnivals: <br>73 80 82 82 83 87 94 </p><ul style="display: flex;"><li style="flex:1">(i) </li><li style="flex:1">‘Hospital’ parades. </li></ul><p>(ii) (iii) (iv) <br>Parading philanthropy. Weymouth Carnival. Seaton’s seaside carnival. </p><ul style="display: flex;"><li style="flex:1">2:5 </li><li style="flex:1">Resuscitations of cultural performance: the influence of UK alternative theatre </li></ul><p></p><ul style="display: flex;"><li style="flex:1">post-1960. </li><li style="flex:1">98 </li></ul><p>2:6 2:7 <br>Developments in cultural policy: from the fringes to the mainstream. Conclusions. <br>111 127 </p><p><strong>Chapter Three:A Qualitative Methodology. </strong></p><p>133 133 134 134 136 137 141 143 143 144 145 <br>3:1 3:2 3:3 <br>Why Qualitative Research? 3:1:1 Ethnography&nbsp;and Participant Observation 3:1:2: Attempting&nbsp;Grounded Theory Access to the field 3:2:1 ‘Professional’&nbsp;Participations 3:2:2 ‘Vernacular’&nbsp;Participations </p><ul style="display: flex;"><li style="flex:1">Research Practices </li><li style="flex:1">.</li></ul><p>3:3:1 Performance-as-Research 3:3:2 Interviewing 3:3:3 Programme&nbsp;of Research </p><p>5</p><p></p><ul style="display: flex;"><li style="flex:1">3:4: </li><li style="flex:1">Negotiating ‘role’ in research </li><li style="flex:1">146 </li></ul><p>149 150 154 156 <br>3:4:1 Negotiating&nbsp;‘role’ in vernacular settings 3:4:2 Professional&nbsp;challenges, professional compromises? </p><ul style="display: flex;"><li style="flex:1">Exiting the Field </li><li style="flex:1">3:5 </li></ul><p>3:6 3:7 <br>Practical methods of data recording and inscription. Processing Fieldnotes: <br>Coding, Data Analysis, Inscription and the ‘re-construction of reality 3:7:1: From&nbsp;Code to Inscription <br>157 159 </p><p>3:8 3:9 </p><ul style="display: flex;"><li style="flex:1">Ethics. </li><li style="flex:1">163 </li></ul><p>165 <br>Conclusions: Critiquing the method and the offer of the following empirical chapters </p><p><strong>Chapter Four: The performativity of carnival: affects and emotions; events and stories. </strong></p><p>169 </p><ul style="display: flex;"><li style="flex:1">169 </li><li style="flex:1">4:1 </li><li style="flex:1">Research questions </li></ul><p>4:1:1 Carnival&nbsp;as liminality. Theoretical frameworks: <br>170 </p><ul style="display: flex;"><li style="flex:1">172 </li><li style="flex:1">4:2 </li></ul><p></p><ul style="display: flex;"><li style="flex:1">4:2:1 Performativity </li><li style="flex:1">172 </li></ul><p></p><ul style="display: flex;"><li style="flex:1">173 </li><li style="flex:1">4:2:2 Affects,&nbsp;events, representations and stories. </li></ul><p></p><ul style="display: flex;"><li style="flex:1">4:3 </li><li style="flex:1">Carnival affects: </li><li style="flex:1">177 </li></ul><p></p><ul style="display: flex;"><li style="flex:1">177 </li><li style="flex:1">4:3:1 The&nbsp;‘energy’ of carnival. </li></ul><p></p><ul style="display: flex;"><li style="flex:1">4:3:2 Performative&nbsp;transformation. </li><li style="flex:1">185 </li></ul><p>193 199 <br>4:3:3 Transgression. 4:3:4 ‘<em>Fun with restrictions</em>’: sanction, permission and structures of control. </p><p>6</p><p>4:3:5 Carnival&nbsp;and alcohol: sobriety, ‘good’ drinking and ‘bad’ drinking. 4:3:6 Affects&nbsp;of ritual in carnivalesque street procession. 4:3:7 Carnival&nbsp;as ‘social drama’. <br>206 212 219 </p><ul style="display: flex;"><li style="flex:1">229 </li><li style="flex:1">4:4 </li><li style="flex:1">Conclusions. </li></ul><p></p><p><strong>Chapter Five: carnival, place and identity. </strong></p><p>233 233 234 240 248 256 266 270 277 282 284 295 </p><ul style="display: flex;"><li style="flex:1">5:1 </li><li style="flex:1">Research Question </li></ul><p>5:1:1 Theoretical&nbsp;frameworks. </p><ul style="display: flex;"><li style="flex:1">5:2 </li><li style="flex:1"><em>Battle for the Winds</em>: carnival and the cultural politics of place: </li></ul><p>5:2:1 Performing&nbsp;the ‘identity’ of the S-West UK during the 2012 Olympiad. 5:2:2 Symbolic&nbsp;geographies of <em>Battle for the Winds. </em>Place as a contested symbolic construction: 5:3:1 ‘In-place’&nbsp;and ‘out-of-place’ vocabularies of carnival. 5:3:2 The&nbsp;Weymouth Carnival Conflict: <br>5:3 5:4 5:5 <br>Progressive and carnivalesque notions of place: 5:4:1 Seaton&nbsp;Carnival Day: Conclusions. </p><p><strong>Chapter Six: Carnival and the symbolic construction of community. </strong></p><p>299 299 301 306 </p><ul style="display: flex;"><li style="flex:1">6:1 </li><li style="flex:1">Research Question </li></ul><p>6:1:1 The&nbsp;conceptualisation of community. </p><ul style="display: flex;"><li style="flex:1">Boundary, inclusion and exclusion. </li><li style="flex:1">6:2 </li></ul><p></p><p>7</p><p>6:3 6:4 6:5 6:6 <br>Communion, togetherness and attachment. Communities of practice. <br>318 323 331 342 <br>‘Community’ and ‘carnival’ as moral values. Conclusions. </p><p><strong>Chapter Seven: Towards a Vernacular Creativity: </strong></p><p>7:1: Research Questions <br>347 347 348 349 350 353 358 371 387 <br>7:1:1 Vignette:&nbsp;Lyme Regis Fossil Festival, 3.5.12 to 7.5.12. 7:2 7:3 <br>Fieldnote, Westham Community Carnival Club, 14.8.12. Theoretical frameworks. 7:3:1 Vernacular&nbsp;creativity and the creative economy. The art and non-art of carnival: ‘creativity’ and ‘acceptable’ aesthetics. The vernacular (non?) art of carnival. <br>7:4 7:5 </p><ul style="display: flex;"><li style="flex:1">7:6 </li><li style="flex:1">Conclusions. </li></ul><p></p><p><strong>Chapter 8: Thesis Conclusions: </strong></p><p>393 <br>8:1 8:2 8:3 8:4 <br>Responses to the Research Questions Contribution to Knowledge Recommendations <br>393 403 406 </p><ul style="display: flex;"><li style="flex:1">408 </li><li style="flex:1">Last words </li></ul><p></p><p><strong>Bibliography </strong></p><p>411 </p><p>8</p><p><strong>Appendix 1:&nbsp;</strong>Data Set (anonymised). </p><p>440 448 452 457 <br><strong>Appendix 2:&nbsp;</strong>Weymouth Carnivals: Schedule of resources at Weymouth Library. </p><p><strong>Appendix 3:&nbsp;</strong>List of research participants (anonymised). <strong>Appendix 4:&nbsp;</strong>Copy of Consent Form </p><p>9</p><p><strong>List of illustrations, figures and tables. </strong></p><p>Fig 1&nbsp;Illustration from a late 17<sup style="top: -0.3167em;">th </sup>/ early 18<sup style="top: -0.3167em;">th </sup>century broadside ballad detailing the Gunpowder <br>Plot and asserting the deliverance of James 1 by divine power. Source: EBBA ID: 20990, Magdalene College, Pepys 2.370. </p><p><a href="/goto?url=http://ebba.english.ucsb.edu/ballad/20990/image%20accessed%2027.3.13" target="_blank">http://ebba.english.ucsb.edu/ballad/20990/image accessed 27.3.13 </a></p><p>Fig 2&nbsp;Skeleton band members, <em>Parliament in Flames. </em>Milton Keynes (1978). <br>Photo: Daniel Meadows. </p><p>Source:<a href="/goto?url=http://www.unfinishedhistories.com/history/companies/welfare-state-international/" target="_blank">http://www.unfinishedhistories.com/history/companies/welfare-state-international/ </a></p><p>Accessed 26.3.13 <br>Fig 3&nbsp;Map of the Dorset and East Devon (Jurassic) Coast World Heritage Site. </p><p>Source: <a href="/goto?url=http://www.jurassicstudycentre.co.uk/webdocs/images/jc_map.jpg" target="_blank">http://www.jurassicstudycentre.co.uk/webdocs/images/jc_map.jpg </a></p><p>Accessed 27.3.13 <br>Fig 4&nbsp;<em>Moving Tides </em>procession, 2012. </p><p>Source: <a href="/goto?url=https://en-gb.facebook.com/MovingTides2012?hc_location=timeline" target="_blank">https://en-gb.facebook.com/MovingTides2012?hc_location=timeline </a></p><p>Accessed 27.3.13 <br>Fig 5&nbsp;Battle for the Winds logo, 2012 </p><p>Source: <a href="/goto?url=http://www.metoffice.gov.uk/media/image/d/t/512x288-battle-winds-logo.jpg" target="_blank">http://www.metoffice.gov.uk/media/image/d/t/512x288-battle-winds-logo.jpg </a></p><p>Accessed 27.3.13 <br>Fig 6&nbsp;<em>Cartwheelin’ </em>publicity poster, Activate Performing Arts, 2012. Fig 7&nbsp;<em>Like a Fish Needs a Bicycle: </em>Walking entrant, Weymouth Carnival, 2012. Fig 8&nbsp;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. </p><p>Fig 9&nbsp;Harlequins Carnival Club Float, Bridgwater Carnival, 2013 </p><p>Source: <a href="/goto?url=http://duck-in-a-dress.blogspot.co.uk/2013/11/day-5-bonfire-night.html" target="_blank">http://duck-in-a-dress.blogspot.co.uk/2013/11/day-5-bonfire-night.html </a></p><p>Accessed 31.3.14 <br>Fig 10&nbsp;Weymouth Carnival procession 1956. HERBERT COLLECTION 3211. Fig 11&nbsp;Minstrels in blackface, Seaton Carnival, circa 1930. Source: Seaton Museum. Fig 12&nbsp;RNLI float, Seaton Carnival, 1951. Source: Seaton Museum. Fig 13&nbsp;Notting Hill Carnival, 1981. </p><p>Source:<a href="/goto?url=http://www.largeup.com/2012/08/23/throwback-thursdays-vintage-notting-hill-carnival-videos/" target="_blank">http://www.largeup.com/2012/08/23/throwback-thursdays-vintage-notting-hill-carnival-videos/ </a></p><p>Accessed 26.3.14 <br>Fig 14&nbsp;A reveller confronts a policeman at the 1976 Notting Hill carnival. <br>Photograph: Homer Sykes. </p><p>Source:<a href="/goto?url=http://www.theguardian.com/culture/2011/aug/25/importance-notting-hill-carnival-riots" target="_blank">http://www.theguardian.com/culture/2011/aug/25/importance-notting-hill-carnival-riots </a></p><p>Accessed 26.3.14 <br>Fig 15&nbsp;Luton Carnival, 2012. Photo by Geoff Collins. </p><p>Source: <a href="/goto?url=http://www.carnivalarts.org.uk/" target="_blank">http://www.carnivalarts.org.uk </a></p><p>Accessed 28.3.14 </p><p>10 </p><p>Fig 16&nbsp;<em>Big Heads</em>, Frome Carnival, 2011. </p><p>Source: <a href="/goto?url=http://www.homeinfrome.org.uk/#/big-heads-carnival-2011/4569450790" target="_blank">http://www.homeinfrome.org.uk/#/big-heads-carnival-2011/4569450790 </a></p><p>Accessed 28.3.14 <br>Fig 17&nbsp;<em>Why Cheap Art? Manifesto</em>, Bread and Puppet Theatre </p><p>Source:<a href="/goto?url=http://breadandpuppet.org/wp-content/uploads/2012/05/why-cheap-art-manifesto.-001.jpg" target="_blank">http://breadandpuppet.org/wp-content/uploads/2012/05/why-cheap-art-manifesto.-001.jpg </a></p><p>Accessed 28.3.14. <br>Fig 18&nbsp;<em>The Skeleton, the Pilot and the Rainbow Fish</em>, Welfare State: Lyme Park Festival, 1981. <br>Photo: Ged Murray. </p><p>Source:<a href="/goto?url=http://www.unfinishedhistories.com/history/companies/welfare-state-international/" target="_blank">http://www.unfinishedhistories.com/history/companies/welfare-state-international/ </a></p><p>Fig 19&nbsp;<em>Storyweir</em>, Proboscis. Site specific artwork, Jurassic Coast, 2012. <br>Photo: Pete Millson </p><p>Source: <a href="/goto?url=http://www.bridport-arts.com/2012/09/exploratory-laboratory-exhibition-brings-art-science-jurassic-coast-gallery/" target="_blank">http://www.bridport-arts.com/2012/09/exploratory-laboratory-exhibition-brings- </a><a href="/goto?url=http://www.bridport-arts.com/2012/09/exploratory-laboratory-exhibition-brings-art-science-jurassic-coast-gallery/" target="_blank">art-science-jurassic-coast-gallery/ </a></p><p>Accessed 31.3.14 <br>Fig 20&nbsp;<em>The Sultan's Elephant</em>, by Royale De Luxe, London, 7.5.06. (Reuters/Stephen Hird) </p><p>Source: <a href="/goto?url=http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5TT.jpg" target="_blank">http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5T</a><a href="/goto?url=http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5TT.jpg" target="_blank">T</a><a href="/goto?url=http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5TT.jpg" target="_blank">.</a><a href="/goto?url=http://cdn.theatlantic.com/static/infocus/royaldeluxe050912/r37_RTR1D5TT.jpg" target="_blank">jpg </a></p><p>Accessed 31.3.14 <br>Fig 21&nbsp;Performance-as-research. The author (foreground) participating with the <em>Cartwheelin </em><br>BFTW crew, Weymouth, July 2012 </p><p>Fig 22&nbsp;Making session at Westham Community Carnival Club, June 2012. Fig 23&nbsp;Participants in fancy dress. Chickerell Carnival Club Float, Weymouth Carnival, 2012 Fig 24&nbsp;<em>Dragon Boat </em>Float, Seaton Carnival, 2012. Fig 25&nbsp;‘Martha’ transformed. Weymouth Carnival, 2012. Fig 26&nbsp;‘Martha’ transformed. Weymouth Carnival, 2012. Fig 27&nbsp;UNISON NHS Float, Weymouth Carnival, 2012. Fig 28&nbsp;Police arrest following a fight outside a bar, Weymouth Carnival, 2012. Fig 29&nbsp;Torch-wading ritual, <em>Battle for the Winds, </em>Weymouth, 2012. Fig 30&nbsp;Bridgwater Carnival Squibbers at <em>Battle for the Winds</em>, Weymouth 2012 </p><p>Source: <a href="/goto?url=http://press.artscouncil.org.uk/Press-Releases/2012-people-wade-into-the-sea-to-mark-the-start-of-London-2012-sailing-events-6af.aspx" target="_blank">http://press.artscouncil.org.uk/Press-Releases/2012-people-wade-into-the-sea- </a><a href="/goto?url=http://press.artscouncil.org.uk/Press-Releases/2012-people-wade-into-the-sea-to-mark-the-start-of-London-2012-sailing-events-6af.aspx" target="_blank">to-mark-the-start-of-London-2012-sailing-events-6af.aspx </a></p><p>Accessed 31.3.14 <br>Fig 31&nbsp;Team GB Sailors lead the procession at Weymouth Carnival, 2012 </p><p>Source: <a href="/goto?url=http://www.parkedge.co.uk/archives/553/team-gb-sailors-at-weymouth-carnival-14" target="_blank">http://www.parkedge.co.uk/archives/553/team-gb-sailors-at-weymouth-carnival-14 </a></p><p>Accessed 31.3.14 <br>Fig 32&nbsp;<em>Cartwheelin’ </em>at Lyme Regis, <em>Battle for the Winds</em>, 2012. Photo: Maisie Hill. Fig 33&nbsp;Walking to the procession. Westham CC members, Weymouth Carnival, 2012. Fig 34&nbsp;Doldrum, <em>Battle for the Winds </em>character ‘made’ from Jurassic Coast stone. <br>Photo by Jim Wileman </p><p>Source: <a href="/goto?url=http://aub.ac.uk/courses/ba/ba-costume-with-performance-design/staff-research/" target="_blank">http://aub.ac.uk/courses/ba/ba-costume-with-performance-design/staff-research/ </a></p><p>Accessed 1.04.14 <br>Fig 35&nbsp;<em>Battle for the Winds </em>torch waders. Photo by Penny Piddock </p><p>Source:<a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the%20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg" target="_blank">http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the </a><a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the%20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg" target="_blank">%20Winds/Fire%20</a><a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the%20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg" target="_blank">T</a><a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the%20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg" target="_blank">o</a><a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/projects/Battle%20for%20the%20Winds/Fire%20Torch%20Wade%20-%20photo%20Penny%20Piddock.jpg" target="_blank">rch%20Wade%20-%20photo%20Penny%20Piddock.jpg </a></p><p>11 </p><p>Accessed 1.04.14 <br>Fig 36&nbsp;Plesiosaur puppet, <em>Moving Tides</em>, 2012. <br>Photo by Alan Rogers </p><p>Source: <a href="/goto?url=https://www.facebook.com/MovingTides2012/photos/pb.341707872506503.-2207520000.1396339766./528762710467684/?type=3&amp;theater" target="_blank">https://www.facebook.com/MovingTides2012/photos/pb.341707872506503.- </a><a href="/goto?url=https://www.facebook.com/MovingTides2012/photos/pb.341707872506503.-2207520000.1396339766./528762710467684/?type=3&amp;theater" target="_blank">2207520000.1396339766./528762710467684/?type=3&amp;theater </a></p><p>Accessed 1.04.14 <br>Fig 37&nbsp;‘Rosie Blower’ - Dorset Wind Champion, <em>Battle for the Winds</em>, Weymouth, 2012. Fig 38&nbsp;Arrival of Doldrum, with help from the Royal Navy. </p><p><em>Battle for the Winds</em>, Weymouth, 2012. </p><p>Source: <a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/News%20Stories/Arrival%20of%20Doldrum%20-%20Royal%20Navy%20-%20news.jpg" target="_blank">http://www.cirquebijou.co.uk/assets/images/News%20Stories/Arrival%20of%20Doldrum%20- </a><a href="/goto?url=http://www.cirquebijou.co.uk/assets/images/News%20Stories/Arrival%20of%20Doldrum%20-%20Royal%20Navy%20-%20news.jpg" target="_blank">%20Royal%20Navy%20-%20news.jpg </a></p><p>Accessed 1.4.14 </p><p>Fig 39&nbsp;<em>The Good Ship Kernocopia</em>, <em>Battle for the Winds</em>, Weymouth, 2012. </p><p>Fig 40&nbsp;<em>The Severn Bore</em>, Gloucestershire Wind Vessel, <em>Battle for the Winds</em>, Weymouth, 2012. </p><p>Source: <a href="/goto?url=http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html" target="_blank">http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html </a></p><p>Accessed 1.4.14 <br>Fig 41&nbsp;<em>Vera</em>, Bristol / West of England Wind Vessel, <em>Battle for the Winds</em>, Weymouth, 2012. </p><p>Source: <a href="/goto?url=http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html" target="_blank">http://somersetartworksblog.blogspot.co.uk/2012/07/battle-for-winds-in-weymouth.html </a></p><p>Accessed 1.4.14 <br>Fig 42&nbsp;‘Devon’ procession, Exeter, <em>Battle for the Winds, </em>2012. </p><p>Source:<a href="/goto?url=http://southdevontextiles.files.wordpress.com/2012/05/high-st1.jpg" target="_blank">http://southdevontextiles.files.wordpress.com/2012/05/high-st1.jpg </a></p><p>Accessed 1.4.14 </p><p>Fig 43&nbsp;Devon Wind Vessel, <em>Battle for the Winds</em>, 2012. Photo by Clive Chilvers </p>