Saturday 15 April 2023
11.00 - 13.00
Politics, Identity and Activism: Historiographic Discourses
Victoriagatan 13, Victoriasalen
Taichi Kochiya :
Disorder and Boykott around Beer in 19th Century Germany
Lex Heerma van Voss
Why did disorders and boykott happend in 19th century Germany.
Anna Stein :
Why can't we be like the Vikings?
My research is focused broadly on, the portrayal of “Celtic” in Museums and across Europe. My work addresses how a culture, such as this Iron Age one, has been portrayed in museums across the British Isles compared against those in continental Europe. For my research, “Celtic” refers to a peoples, ... (Show more)
My research is focused broadly on, the portrayal of “Celtic” in Museums and across Europe. My work addresses how a culture, such as this Iron Age one, has been portrayed in museums across the British Isles compared against those in continental Europe. For my research, “Celtic” refers to a peoples, a culture, a language and a heritage. I want to know what are museums doing to help visitors engage with the scope of what Celtic is and in turn how this affects our connection to our Celtic past. This is in contrast to the unifying nature of the Viking heritage shared by Nordic and Scandinavian countries.
Being both Scottish and Swedish has allowed me to view how connected people are with their Viking heritage across Scandinavia. For some, it is a very important part of their identity, for others, just a fact that doesn’t play a huge part in their lives. Either way, people across Iceland, Norway, Sweden, Denmark, Finland and the Faroe Islands all seem to accept and embrace this shared past. Viking jewellery is for sale in shops, Viking themed restaurants and cafes dot the cities. Despite tensions that may exist between countries, there is a level of comradery for their ‘Viking Brothers’ regardless. This seems to be in stark contrast to the Celtic peoples of the British Isles and parts of Europe.
Why can’t the Celts be as unified as the Vikings? The Celtic peoples, their history, culture, languages, and more, are still alive and well in the British Isles and some parts of mainland Europe. That being said, their representations in museums seem to be limited and in need of updating. The shared heritage between the countries is not palpable to many. There are parts of France, Germany, Switzerland and others that consider themselves Celtic but not related to the British Celts. Why is there is lack of connection?
Being Celtic is a huge part of ones national identity in places like Ireland and Scotland. How do we connect to other Celtic peoples? What I am asking is how are the Celts and “Celtic” things being presented to the public? And in turn, how this is affecting our understanding of what actually is “Celtic” and our relationship with other “Celts”? (Show less)
Keira Williams :
“Hell Has Overtook You”: Sex, Race, Music, and Violence in Mid-Century Myrtle Beach, South Carolina
In the middle of the twentieth century, Myrtle Beach, South Carolina (U.S.), was a tourist destination catering primarily to sun-and sea-worshiping white Americans, who flocked to the Ocean Drive Pavilion, the amusement park featuring carnival rides, beauty pageants, and dance contests over 11 acres of beachfront property. A mere mile ... (Show more)
In the middle of the twentieth century, Myrtle Beach, South Carolina (U.S.), was a tourist destination catering primarily to sun-and sea-worshiping white Americans, who flocked to the Ocean Drive Pavilion, the amusement park featuring carnival rides, beauty pageants, and dance contests over 11 acres of beachfront property. A mere mile away, however, a radical subculture reigned featuring local Black power, racial integration, and defiance of white supremacy. On Carver Street, in the Black neighborhood known as “the Hill,” entrepreneur Charlie Fitzgerald ran a compound comprised of a nightclub—Charlie’s Place—with an accompanying restaurant, hotel, and taxi company catering to Black performers and dancers of all races. The club was famed for its live acts; as part of the Chitlin Circuit, a network of Black-owned clubs spanning the Jim Crow South from Virginia to Louisiana, Charlie’s Place hosted the likes of Fats Domino, Duke Ellington, Etta James, Lena Horne, and Muddy Waters in the 1940s. But its real claim to fame was as the birthplace of the Carolina Shag, the so-called “swing dance of the South.”
In 1950, in a tumultuous political context in the state and across the region, the popularity of the Black-owned-and-operated Charlie’s Place among white youth, and especially the close proximity and interracial bodily contact that characterized the shag, caught the attention of the newly reconstituted Ku Klux Klan of South Carolina. After warning Fitzgerald to put an end to the dancing in his club, the Klan, with the help of local law enforcement, staged a violent attack on Charlie’s Place one midnight in late August. When the smoke from the gunfire cleared, one man was dead—revealed to be a local police officer once his Klan hood was removed—and Charlie Fitzgerald was missing; he had been kidnapped, taken to the swamp, and tortured. Although Fitzgerald survived and returned to run the club until his death in 1965, this attack was not simply brutal. It was symbolic of both the significance of an empowered, local Black community in the postwar rural South and a warning of the renewed white supremacist backlash that would come to characterize the South in the ensuing decade. Likewise, the federal government’s changing stance on civil rights, indicated by the ensuing FBI investigations of the Klan in the coastal Carolinas the following year, heralded changes to come.
In this paper, through a qualitative examination of archival data, I examine Charlie’s Place as a case study of pop cultural integration, political empowerment, and racialized resistance in the postwar, pre-Civil Rights South. (Show less)