The woman suffrage movement in America lasted nearly an entire century. The movement formally began in 1848 at the Seneca Falls Convention and concluded in 1920 when the Susan B. Anthony amendment was ratified. Throughout this time period the movement changed dramatically. At the turn of the century the excitement and radical nature of the movement that prevailed at mid-century had been exhausted. Suffragists worked with no sense of immediacy, under the assumption that universal suffrage would come eventually, whether it in their lifetimes or their daughters’ or granddaughters’. This all changed, however, in 1913 with the Woman Suffrage Procession. The parade catalyzed the movement, sparking the beginning of the end. An examination of the parade itself, the planning process, and its aftermath reveals the importance of the procession and the changes it provoked. It first served as a platform for a new suffrage leader and a new suffrage group. Alice Paul, a young suffragist who had been involved in the movement in England, planned the procession as her first major responsibility on the US suffrage scene. Throughout the parade planning and aftermath she established herself as a strong leader. She also led the way for a younger and more radical suffragist organization, the Congressional Union, that would soon split from the dominant suffrage organization to pursue more aggressive tactics. Secondly, the suffrage parade demonstrated and catalyzed a transition of strategy, tactics, and sentiment. At the parade a younger cohort of suffragists began utilizing more militant tactics and adopting a sense of immediacy and determination. Finally, the parade altered the movement by raising awareness across the country that had not previously existed. The excitement of the procession caught the attention of government officials, the general public, and - most importantly - the media. The combination of a new leader and association, the transformation of internal attitudes, and new-found awareness put the suffragists on the path towards victory. The parade breathed new life into the movement, catalyzing the final push to success.

This thesis investigates how an institutional coordination of civic policies and organizational processes within Pride Toronto were brought to bear on the activist group Queers Against Israeli Apartheid (QuAIA) in their attempts to participate in the 2010, 2011, and 2012 Toronto Pride Parades. Utilizing an institutional ethnography (IE), I explore this issue in two key ways. First, by mapping a work-text-work sequence of QuAIA’s experience in applying to march in the 2010 Parade, I demonstrate how the application process was subject to social relations that extended beyond Toronto Pride. Second, through the elaboration of processing interchanges, I demonstrate how the experiences of QuAIA were hooked into a series of translocal relations via Pride Toronto’s funding relationship to the City of Toronto. These translocal relations working through the City of Toronto were themselves varied, from pro-Zionist pressure on individual City councilors, to an alignment with anti-tax and arguably homophobic interests on council. / Graduate

Thesis (doctoral)--Stockholm University, 1992. / Includes bibliographical references.

abstract: Drawing from Foucault's notion of heterotopias, my dissertation identifies and examines three distinct but related events that resignified (re-imagined) Chile during 2010, the year of its Bicentenary, namely: the Rescue of the 33 Miners trapped in the San José mine, the Chilean Military Parade performed in celebration of Chilean Independence, and the Mapuche Hunger Strike of 32 indigenous people accused of terrorism by the Chilean State. My central hypothesis states that these three events constitute heterotopias with strong performative components that, by enacting a utopian and a dystopian nation, denounce the flaws of Chilean society. I understand heterotopias as those recursive systems that invert, perfect or contest the society they mirror. In other words: heterotopias are discursive constructions and material manifestations of social relations that dispute, support, or distort cultural assumptions, structures, and practices currently operating in the representational spaces of a given society. In addition to following the six heterotopological principles formulated by Foucault, these case studies have performance as the central constituent that defines their specificity and brings the heterotopias into existence. Due to the performative nature of these heterotopias, I have come to call them performance heterotopias, that is, sets of behaviors that enact utopias in the historical world, the place in which we live, the site in which "the erosion of our lives, our time and our history occurs," as Foucault puts it. Here, performance would act as the interface, the point of interaction, and suture between the conceived, the perceived and the representational spaces each heterotopia articulates. Thus, a performance heterotopia would be a particular type of heterotopia which is enacted through performance. A relevant aspect that emerged from my research is that heterotopic places not only mirror, contest, and compensate their own host society, but also refer to, and intersect with other contemporaneous heterotopias enacted in that society. In my conclusion I suggest that such interactions also happen between heterotopias that emerge in different countries and cultures. If so, the mapping of utopias enacted in the macro socio geographies of Latin American countries could offer new perspectives to understand the sociopolitical processes that are underway in the region. / Dissertation/Thesis / Ph.D. Theatre 2011

This diploma thesis is addressing the "National Performance of the Children's Choirs" in former Czechoslovakia and Czech Republic. It aims to map its beginnings in the early 1990s and follows its subsequent course and changes, primarily from an administrative viewpoint. Special chapters focus on propositions and repertoire of the attending choirs; index of the repertoire is attached as a supplement. Key words children's choirs, parade, festival, choirmaster, children's choir compositions

Magister Artium (Development Studies) - MA(DVS) / Street trading is a highly contested activity in South Africa because of the different interests held by the government, other stakeholders and street traders. The contradictory nature of the relationship between government and street traders has led to exclusionary policies and practices put in place by the government to regulate street trading. These exclusionary practices have negative effects on the livelihoods of street traders. Female traders are more vulnerable and at greater risk than their male counterparts. Organised labour movements have largely focused on formal sector workers, leaving the rights of informal workers largely unregulated. In recent years there has been an emergence of informal sector organisations seeking to protect the interests of street traders and influence informal trading policy. Although seldom researched, a number of informal sector organisations have emerged in South African cities. / 2023

No description available.

Es zeichnet sich seit den 1990er-Jahren die Tendenz ab, dass sich viele Künstler/innen verstärkt mit Subjekten statt mit Objekten beschäftigen. Hinzu kommt eine zunehmende „Kollektivierung und Theatralisierung der einst auf Singularität und Präsenz setzenden Performance“. In diesem Zusammenhang sind auch immer mehr künstlerische Arbeiten zu registrieren, die mit Prozessionen und Paraden eine Vielzahl von Menschen auf die Straße bringen und in Bewegung versetzen. Dies spiegelt sich auch in einer immer größer werdenden Zahl thematischer Ausstellungen wider, die sich diesen Arbeiten widmen. Bereits 2004 konstatierte Pablo Lafuente in seinem Essay „Art on Parade“ in Art Monthly: „That ability of the parade to create subjectivity is where the artist’s political aspiration lies.“ Die künstlerisch-ästhetischen Praktiken von Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles und Jeremy Deller, die Gegenstand der vorliegenden Untersuchung sind, könnten unterschiedlicher nicht sein. Ihre Gemeinsamkeit liegt in der performativen Verwendung eines sehr alten traditionellen Handlungsmusters, das den meisten Menschen vertraut ist. Die Prozession ist eine ritualisierte Handlung, die in unseren Breiten zuallererst mit der christlichen beziehungsweise der katholischen Liturgie in Zusammenhang gebracht wird. Die Grundbedeutung des Begriffs (von lat. processio = Zug, Geleit) als ein zielgerichtetes, geordnetes, gemeinsames Gehen, das den Raum gliedert und ihm dabei Bedeutung verleiht, umfasst jedoch den kultischen ebenso wie den profanen Umzug. So begegnen uns Prozessionen in vielen Bereichen des kulturellen Lebens. Dementsprechend beschäftigt sich diese Dissertation mit Prozessionen, Paraden und Karnevalsumzügen, deren Grundmotiv das gemeinsame, öffentliche, oftmals um einen Gegenstand herum organisierte Gehen, also die Prozession in ihrem allgemeinen Sinne ist. / Ever since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.

Made available in DSpace on 2016-04-29T14:18:00Z (GMT). No. of bitstreams: 1 Anderson Schirmer.pdf: 890150 bytes, checksum: 1be1321cd1326f024ac474c371e5d85b (MD5) Previous issue date: 2010-05-10 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The São Paulo Gay, Lésbian, Bisexual, Transvestite and Transsexual LGBT Pride Parade, in a little less than 10 years in existence, has shown itself to be the largest expression of the Brazilian Homosexual Movement. The social image of the Gay Parade is expressed through the discourse for demands and the playful model of the celebration, which has divided public opinion and the militants. The demonstration aims to raise the visibility of the sexual identity which each category represents. In 1999 as Association was created to organize the event and to promote other same-sex inclusion policies within the framework of Politics of Identities. This dissertation aimed to characterize the discourse of the APOGLBT, articulating it with the theme of Politics of Identity and in addition, to undertake a critique of the Politics of Identity presenting a counterpoint through psychoanalysis. We will discuss how in the models of particular causes there is the risk to exclude the subject and how the taking of Identity with the political statute often reconstructs stereotypes (and new prejudices) and binds the Movement to the shackles of the agendas of the State and the Market. The theoretical reference used is Fredian-Lancanian, with recourse also to other psychoanalytical authors, mentioning Slavoj i ek in particular / A Parada do Orgulho de Gays, Lésbicas. Bissexuais, Travestis e Transexuais de São Paulo, em pouco mais de 10 anos de existência, mostra-se ser atualmente a maior expressão do Movimento Homossexual Brasileiro. A imagem social da Parada Gay é expressa entre o discurso reivindicatório e o modelo lúdico da celebração, o que tem dividido a opinião pública e os militantes. A manifestação busca dar visibilidade à identidade sexual que cada categoria representa. Em 1999 foi criada uma Associação para organizar o evento e promover outras políticas de homo-inclusão, dentro do arcabouço das Políticas de Identidades. Esta dissertação buscou caracterizar o discurso da APOGLBT, articulando-o com o tema das Políticas de Identidade e, além disto, fazer uma crítica às Políticas de Identidade apresentando um contraponto pela psicanálise. Discutiremos como nos modelos das causas particulares arrisca-se excluir o sujeito e como a tomada da Identidade com estatuto de política muitas vezes reconstrói estereótipos (e novos preconceitos) e enlaça o Movimento às amarras do agenciamento do Estado e do Mercado. O referencial teórico utilizado é Freudo-Lacaniano, recorrendo também a outros autores psicanalistas, com destaque para Slavoj i e

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009. / In this thesis I examine the phenomenon of carnival for its corporeal and spatial expressions of fluid identity formations. The visual constitution of multiple gay/queer identities during carnival is commonly regarded as transgressive of the normative order that is ideologically and physically imbedded in the structure of city. I suggest, however, that the various local performances of homosexuality that are mobilised during the Cape Town Pride Parade can be interpreted as simultaneous reinforcements and contestations of sexual stereotypes. By tracing discursive and spatial shifts that have occurred within the South African sexual landscape, I demonstrate how this carnival both transgresses and bolsters heteronormativity. In addition, I explore how race and gender play decisive roles in the constitution of a homonormative gay identity, and investigate how these male, white homonormative assumptions are challenged by a minority of black and lesbian participants. In the process of deconstruction, I also reveal how the interaction between spectator and carnival participant blurs binary constructs of stasis/mobility, subject/object, private/public, and 'normal'/'abnormal'.