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PostPosted: Wed Jun 19, 2013 8:58 pm    Post subject: Female Personifications of Wales / Cambria / Cymru Reply with quote

These sorts of thing I think that I would normally put under ' history ' or ' propaganda ' or even ' theory ' but the personification of Wales as maid, mother or crone involves particular issues for Republican women so it goes here - but where to start ? Dame Wales I guess ... and a famous cartoon whose point still very much applies in contemporary Wales -

- a cartoon by Staniforth, inventor ( ? ) of Dame Wales who is alternatively ludicrous and admirable -



I think that I might stick in here a bit more about Joseph Staniforth here because as it happens he lived just three hundred yards or so away from where I sit complaining about that fief that he represented ... but I like his cartoons, as apparently a lot of people did at the time who also opposed the coal barons, because the better ones have quite a bit of wit and humanity in them and an appeal to moral rectitude : unfortunately as the ******** ********s gear up to celebrate the celebratory centenary snack of supposed patriotism garnished with gore and smothered in blood starting in 2014, they are going to wheel out Staniforth and ' Mam Cymru ' in order to rally the troops ... this tends to leave me wondering just whose apron it is that has been hung up as that rag-on-a-stick ...


"In some ways Staniforth was a great defender of the status quo, though there are numerous examples in his work of his affinity with the ordinary worker, and in particular the ordinary soldier on the Western front. ... There are a lot of raw materials for social historians in the presumed knowledge of the time, and his World War One work in particular is revealing of how attitudes changed through the course of the conflict."

" ... Prof Chris Williams of Swansea University is hoping ... with the help of a grant of £70,000 from the Heritage Lottery Fund to digitise around 1,300 examples of his work during the World War I. ... He said: "Throughout his life, JM Staniforth created over 15,000 cartoons, but perhaps the most typical, and influential were those he drew during World War One." ... The project's website will be live in time for the centenary of the outbreak of World War I next September. "


This is a slideshow of cartoons from the early days of WW1 and interestingly there is a hint of the macabre side of David Lloyd George in him being depicted as the Pied Piper of the United Kingdom leading child-like Welsh miners away from their homes to be slaughtered - and the date of this is the twenty second of September 1914 : this was the very early days of the war when " pals' battalions " were getting drunk and signing up en-masse under peer*pressure in their local pubs and clubs.

The consequences of this were that whole streets like Russel Street in Cardiff were left full of widows and orphans - because their husbands had been drinking in the Liberal Club that stood at the end of their street, which generously erected a small plaque to these fallen heroes after the war, just besides where they used to stack the empty barrels next to the urinals on the back wall ... that, you see, is how those who fight for the United Kingdom - and the commercial interests of those who own it and who consider the ordinary people who live in its various constituent countries to be merely livestock and / or cannon fodder - treat " heroes." The building has been sold now and those families did not count in that cash transaction, so the plaque has been taken down : as far as I know, it was most probably tossed in a builder's skip during the renovation and has now been buried by Cardiff City County Council in their Lamby Way rubbish dump.

[ I have been looking for anything on the internet about the Russel Street volunteers but I have found nothing : there are a fair number of references to the ' Cardiff Pals ' i.e. the 11th Battalion but to understand the scope of the ... how can you describe this, conceive of this ? - http://en.wikipedia.org/wiki/List_of_Pals_battalions - maybe this war memorial on Stow Hill conveys some of the slaughter - http://walesinthefirstworldwar.typepad.com/.a/6a010536b769f4970c0105371370a2970b-800wi ]

If I am wrong in the above assumption, will somebody please advise me otherwise and forgive me my mistake - this assumption is born merely out of the fact that I am relatively poor in that I am debt-free, own my own house and owe no government at any level any taxes and therefore I am to be numbered amongst the livestock of this city - whereas if I owed billions, was mortgaged way beyond my means upon slum housing and refused to pay any of my taxes I would be counted as a respected and influential citizen of the City and County of Cardiff and I would have the Council offering me free dinners and inquiring whether I would like to accept any of the generous subsidies and grants that they might be able to procure for me - and - OH ! - by-the-way - ! Would I like an OBE ? MBE ? KGB ?

Why not sponsor a war, there are always good rates of profit on offer for charitable donors, and UK plc will - apparently - still sell you a place in the House of Lords at a cracking good discount afterwards ... perhaps the reader doesn't believe me ? Well, after recent reforms of the House of Lords to exclude hereditary peer*s and thus supposedly cut down the size of it to a nice, sleek, compact group of people appointed mostly upon account of their expertise ... the House of Lords as I understand it now has more members than it did after World War One when Lloyd George had been selling peerages to his political backers - yes, you guessed it, those arms manufacturers who in the years leading up to World War One had just been wetting themselves at the prospects of the profits to be made in actually fighting a war, let alone the money they had already made in the arms race that led up to it. True, Lloyd George had to square this policy with the fact that his own electorate were going to be butchered and therefore not going to be able to vote for him - but the man was a true democrat, in many places in Wales after World War One many Liberal voters continued to loyally support him in Wales' constituencies even though they were dead. The Welsh Wizard was a political genius of an order that ... ooh ... perhaps only Tony Blair could be said to truly share, certainly not Eric Blair anyway who owed nothing to " Mam Cymru."

OK - bad tempered rant over, I've been criticising myself recently for coming over badly and damaging my own arguments by sounding like a snarling, sneering, sniggering hyena - let's get back to where I started from which was Joseph Staniforth's cartoon character, " Lame Wales."

SWANSEA UNIVERSITY'S PROJECT - http://www.swansea.ac.uk/riah/research-projects/cartooning-the-first-world-war/ - ALSO DESCRIBED ON - http://www.centenarynews.com/article?id=781 - NOTE IF YOU WISH TO PLEASE ME HOW EACH OF THESE BEGIN - " This Heritage Lottery Fund “Your Heritage” Grant, worth £69,960, will enable Professor Williams ... " - " Swansea University, Wales, has received almost £70,000 in Heritage Lottery Funding to digitise the wartime work of ... " - THIS IS THE SORT OF THING THAT SETS ME OFF ABOUT THE MISUSE OF THE WORD ' CHARITY ' : IT DOES NOT MEAN ' KIND ' IN THE SENSE OF ' LIKE ONE OF US ' - !!!

( The only National Lottery that I participate in is the Welsh National Lottery and that is only because I am forced to stake not only every penny and piece of property that I own on it but my very life as well because of its every plot and all of its people being part and parcel of the property of the United Kingdom - which will fight to the death of everyone living within these islands and indeed everyone else living on the surface of the planet whilst the proprietors of the United Kingdom and their allies are either sat beneath it in bunkers or presumably have a plan to launch themselves into orbit ahead of their missiles ... it is a grim thought, but there is no need to worry too much about World War Three just yet because I actually think that it is bound to be delayed by ten to fifteen years or so yet due to the huge profits to be made in the next round of arms escalation as the major powers replace expensive unreliable human cannon fodder with various sorts of drones - then they will finally be able to solve all these various sorts of crises that normally lead to war, like these shortages of everything due to the overpopulation of the planet by poor people which leaves the people who own it without their rightful shares, by methodically exterminating the rest of us without having to leave their property rendered unusable to to nuclear hazards, chemical pollutants or contamination by biohazards ... you know, having got to the end of that sentence ... I'm now thinking that really is their plan ... that's pretty scary ... I think that I'm going to need some new kind of therapy for this ... at least I could make some money out of it by writing some sort of self-help manual for Republicans in Wales and the World ... " IF WE'RE UK - WE'RE NOT OK ! "

Oh - DAMN !!! - I know where I got THAT idea - !!! Laughing
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PostPosted: Thu Jul 11, 2013 1:27 am    Post subject: Reply with quote

Out of place,

but I might as well mention that one element that may have gone into the making of Dame Wales might well have been this tough old bird - Rebeca -


- because Dame Wales doesn't seem to me as dopey and easily distracted as she may otherwise look .... and there are bound to be loads of ' Rebeca ' web pages - surely ?


http://en.wikipedia.org/wiki/Rebecca_Riots_(band) ... Band Iangiesau ?


I thought that I'd better check my guess for the spelling of multiple females of ' Ianci ' and found that " What does IANCI stand for ?
International Association of Nonviolent Crisis Intervention " ... and wondered whether Gwladys is a subscribing member ... bugger the dictionary makers - " Ianci eg ll -s, Iancwn, Ianciod, Iancwys = Yankee " ... Iancwysau ? Felli ...

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PostPosted: Sun Jul 13, 2014 9:04 pm    Post subject: Reply with quote


http://www.bbc.co.uk/news/uk-wales-28204704 http://www.bbc.co.uk/news/uk-wales-21853670




J M Staniforth's cartoons, including Dame Wales cartoons, are now available to view on-line from Swansea University - any time soon - surely - they say, in every press release ... but I can't find them : but according to the BBC Carwyn has now definitely seen them and therefore he has probably had them censored as " being too political " and thus has had Staniforth's work re-classified again as top secret for yet another hundred years ... we are not allowed no sense of humour allowed any more, so that is why all of the BBC's hit comedy shows like Newsnight have to have their spontaneous one-liners carefully scripted you know - that is why their star comedians like Hew Edwards are just not allowed to be that funny any more ... and so why Jeremy Smacksem had to be got rid of : people were tuning into BBC 2 each evening just to find something to laugh at after all of the dreadful stuff that the BBC are broadcasting on all their other channels ... which we pay for ... surely the BBC is absolutely the worst kind of government of the people's consciousness that we could ever have : we are forced to pay for stuff that most of us do not want to watch because it is all about ... them ... whatever happened to " NO TAXATION WITHOUT REPRESENTATION - " ... " - AT LEAST AS STEREO-TYPICAL IDIOTICALLY WELSHY PERSONS - PLEASE !!! "

... just as Staniforth lovingly portrayed us ...
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PostPosted: Mon Mar 21, 2016 10:35 am    Post subject: Reply with quote



" ... Milligan was therefore not simply a playwright but a total woman of the theatre who, from 1898, involved herself in every aspect of stage production. Besides writing plays, she designed and made costumes, constructed theatrical sets and props, published and distributed scripts through newspapers, and even acted (once with celebrated Abbey actress Molly Allgood). She developed an enigmatic form of theatrical story
telling called tableaux vivants (living pictures) in which performers enacted scenes drawn from melodrama, the nationalist presses, songs, stories,
contemporary political protests, legends or social life. These ‘living pictures’ were a very popular entertainment, in which performers would strike a pose representing a scene from a story, or depicting an image taken from a famous picture. The actors would remain frozen in character for a number of minutes, while the story of the picture was explained
to the audience by an offstage narrator, sometimes accompanied by a live orchestra.

Tableaux were accessible not only in terms of their ease of engagement but also because groups with limited funding and modest dramatic skills
could produce them. Thus local communities, language groups and small-scale political and cultural organisations were able to participate directly
in the theatrical memorialisation of national identity. There are other accounts written by those who witnessed the tableaux shows. Padraic Colum recalled that the April 1901 show, organised by Milligan in Dublin, included scenes from Thomas Moore’s Irish Melodies that he defined as “living pictures that were carried along by the music”, and described being “in an audience of some hall devoted to nationalism and Gaelicism when I saw the tableau of ‘Silent O Moyle be the Roar of thy Waters’ and watched the enchantment of the children of Lir.”

Tableaux had a particular resonance in the Irish cultural movement because it was a theatrical form that had developed out of state censorship of spoken language in drama. At issue in the debates
about native language and national theatre in the Revival period was the question of who had the right to speak for the Irish nation and how that nation could be spoken for. For Milligan, the Gaelic League wasn’t just about reinstating the Irish language: it was about creating the cultural
conditions that would give that language meaning. In this anti-colonial context of protest and solidarity, tableaux were a symbol of the body awaiting speech. At the turn of the century these living picture shows were crucial for the huge numbers of people who didn’t have Irish but who wanted to participate in the formation of ‘national’ theatre. Tableaux were vital in forging communities, for women in gaining space in the public life of the nation and for connecting people in difficult political contexts. They were critical for people at different levels of Irish language learning and for the inclusion of northern Protestants such as Alice Milligan whose upbringing led them to believe that Irish was not their native language or their national culture. In 1898, for instance, Alice Milligan worked with artist Rosamond Praeger (a staunch unionist) to design the sets for tableaux in Belfast that were performed by radical nationalists such as Anna Johnston. Silence represented a halfway house, a space, a means of crossing borders and transgressing the barriers erected by years of colonial occupation.

Tableaux vivants shows were significant in providing a cultural platform for women who were often marginalised in public life or banned from political organisations. It is no coincidence that Milligan aligned much of her theatre work with feminist organisations such as Maud Gonne’s Inghinidhe na hÉireann (Daughters of Ireland) and the Irish Women’s Association. One of the most often performed tableaux in pre- and postPartition Ireland was that of ‘Erin Fettered Erin Free’. Maud Gonne recalled how in August 1901
Inghinidhe na hÉireann repeated the tableau of Ireland as a woman eventually liberated: As the curtain rose on the last tableaux of Erin
Fettered and Erin Free, and Erin as a beautiful girl with broken chains falling from her and a drawn sword in her hand appeared…”

The creation of an Irish national theatre, for Milligan, anticipated Brecht in its rejection of the colonial (imported) spectacular: her theatre
practice forged connections between people and developed a sense of history through contemporary politicised cultural activism. Milligan was
determined that Irish communities should not feel disempowered by lack of resources or buildings or scripts or trained actors or spectacular stage
machinery or unaffordable elaborate costumes. One of her principal recommendations was for a theatre library, stocked with scripts and costumes that could be transported across the country for
use by dramatic groups: What we really need is a bureau of information,
and loan of costumes, also a dramatic library…I have it in serious contemplation to start a dramatic bureau, publishing small plays, or supplying typewritten copies of them, with sketches of requisite
costumes…. Everywhere through Ireland there are small amateur companies ready to act.”



" ... Poets and nineteenth-century Irish nationalists used Erin in English as a romantic name for Ireland. Often, "Erin's Isle" was used. In this context, along with Hibernia, Erin is the name given to the female personification of Ireland, but the name was rarely used as a given name, probably because no saints, queens, or literary figures were ever called Erin. ... According to Irish mythology and folklore, the name was originally given to the island by the Milesians after the goddess Ériu. ... Erin go bragh ("Éire go brách" in standard orthography, dative "in Éirinn go brách" "in Ireland for ever"), a slogan dating from the 1798 revolution, is often translated as "Ireland forever". ... [ & HERE IS AN INTERESTING CYMRIC LINK - ] ... As a family name, Erin has been used as one of the many spellings of the name of the Scottish clan "Irwin" - which was involved in the Scottish Plantations of Ireland. However, that name was originally derived from the place of the same name near Dumfries, and means "green water", from Brittonic ir afon.


It turned out to be really difficult to find any of these 19c images of Erin using Gloggle ( try Gluggling " Erin in chains " - and ashudder ! ) - until :


JOURNAL OF AMERICAN ETHNIC HISTORY - Volume 33, Issue 2 – Winter 2014

Caricaturing Race and Nation in the Irish American Press, 1870–1880: A Transnational Perspective

Compiled by Cian T. McMahon - Editor's Note: The following 41 cartoons are organized thematically to facilitate the easier use of them as a teaching/research resource.

Image 6C. "In Chains, But Unconquered" (Irish World, April 24, 1875)
Benjamin Disraeli, the Conservative Prime Minister of Great Britain, unsuccessfully urges Erin to surrender her pride and submit to Britannia.

Image 6B. "An Intelligent Englishman" (Irish World, January 27, 1872)
Erin derides an Englishman who does not understand what the Irish home rule movement is trying to achieve.

Image 5A. "The Unstemmed Exodus" (Irish World, March 10, 1877)
Ireland is a damsel [ I.E. THIS IS THE USUAL IMAGE " ERIN IN CHAINS " ] in distress lamenting the dual afflictions of mass migration and mortality that have affected Ireland since the Great Famine (1845-1852).
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