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Cambridge University – showing ghostly images from a Welsh manuscript

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One of the UK’s most important medieval manuscripts is revealing ghosts from the past fter new research and imaging work discovered eerie faces and lines of verse which had previously been erased from history.

Dating from 1250, The Black Book of Carmarthen is the earliest surviving medieval manuscript written solely in Welsh, and contains some of the earliest references to Arthur and Merlin. The book is a collection of 9th-12th century poetry along both religious and secular lines, and draws on the traditions of the Welsh folk-heroes and legends of the Dark Ages.

However, despite its importance (the manuscript is designated ‘MS Peniarth 1’ in the National Library of Wales) and decades of scholarly research, the work of a PhD student from the University of Cambridge has illuminated tantalising new glimpses of verse from the 750-year-old book.

Myriah Williams and Professor Paul Russell from Cambridge’s Department of Anglo-Saxon, Norse and Celtic (ASNC), believe that a 16th century owner of the book, probably a man named Jaspar Gryffyth, summarily erased centuries’ worth of additional verse, doodles and marginalia which had been added to the manuscript as it changed hands throughout the years.

However, using a combination of ultraviolet light and photo editing software, the 16th century owner’s penchant for erasure has been partly reversed to reveal snatches of poetry which are previously unrecorded in the canon of Welsh verse. Currently, the texts are very fragmentary and in need of much more analysis, although they seem to be the continuation of a poem on the preceding page with a new poem added at the foot of the page.

Williams said: “It’s easy to think we know all we can know about a manuscript like the Black Book but to see these ghosts from the past brought back to life in front of our eyes has been incredibly exciting. The drawings and verse that we’re in the process of recovering demonstrate the value of giving these books another look.

“The margins of manuscripts often contain medieval and early modern reactions to the text, and these can cast light on what our ancestors thought about what they were reading. The Black Book was particularly heavily annotated before the end of the 16th century, and the recovery of erasure has much to tell us about what was already there and can change our understanding of it.”

Williams and Russell will present a lecture at The National Library of Wales today, part of a larger exhibition on the life and work of Sir John Price, one-time owner of the Black Book. There, they will detail some of their findings, stressing the importance of continued research on the manuscript.

“What we have discovered may only be the tip of the iceberg in terms of what can be discovered as imaging techniques are enhanced,” said Russell. “The manuscript is extremely valuable and incredibly important – yet there may still be so much we don’t know about it.”

The faces are visible under UV light, but not to the naked eye.
Despite its value today, the Black Book of Carmarthen (so called because of the colour of its binding) was not an elaborate production, but rather the work of a single scribe who was probably collecting and recording over a long period of his life.

This is readily visible on the manuscript pages themselves; the first pages feature a large textura script copied on alternating ruled lines, while in other parts of the manuscript – perhaps when vellum was scarce – the hand is very much smaller and the lines per page tight and many.

That the Black Book may have been something of a labour of love is also reflected in its content by the breadth of genres represented. These range from pieces of religious verse to praise poetry to story poetry.

An example of the latter is the earliest poem concerning the adventures of the legendary Arthur, which sees the famed hero seeking entrance to an unidentified court and expounding the virtues of his men in order to gain admittance.

Other heroes are praised and lamented in a lengthy text known as Englynion y Beddau, the Stanzas of the Graves, in which a narrator presents geographic lore by claiming to know the burial places of upwards of eighty warriors. Arthur makes an appearance here as well, but only insofar as to say that he cannot be found: anoeth bid bet y arthur, ‘the grave of Arthur is a wonder’.

Other famous figures also appear throughout, including Myrddin, perhaps more familiarly known by the English ‘Merlin’. There are two prophetic poems attributed to him during his ‘wild man’ phase located in the middle of the manuscript, but additionally the very first poem of the book is presented as a dialogue between him and the celebrated Welsh poet Taliesin.

Since the creation of Geoffrey of Monmouth’s Historia Regum Britanniae in the 12th century there has been a connection between Carmarthen and Merlin, and it may be no accident that the Black Book opens with this text.

Measuring approximately only 17cm by 12.5 cm, the book is made up of 54 pages of vellum (animal hide) and came to the National Library of Wales in 1904 after being bought, alongside other manuscripts, by the Library’s founder, Sir John Williams.

Picture 1064

Creative Commons License
The text in this work is licensed under a Creative Commons Attribution 4.0 International License.
Images credit: National library of Wales
Source: www.cam.ac.uk/research/news/ghosts-from-the-past-brought-back-to-life

Excess mortality in England and Wales during the first wave of the COVID-19 pandemic

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This article  has not been peer-reviewed 

Abstract

Background Deaths during the COVID-19 pandemic result directly from infection and exacerbation of other diseases and indirectly from deferment of care for other conditions, and are socially and geographically patterned. We quantified excess mortality in regions of England and Wales during the pandemic, for all causes and for non-COVID-19 associated deaths. Methods Weekly mortality data for 1 Jan 2010 to 1 May 2020 for England and Wales were obtained from the Office of National Statistics. Mean-dispersion negative binomial regressions were used to model death counts based on pre-pandemic trends and exponentiated linear predictions were subtracted from: i) all-cause deaths; and ii) all-cause deaths minus COVID-19 related deaths for the pandemic period (07-13 March to 25 April to 8 May). Findings Between 7 March and 8 May 2020, there were 47,243 (95%CI: 46,671 to 47,815) excess deaths in England and Wales, of which 9,948 (95%CI: 9,376 to 10,520) were not associated with COVID-19. Overall excess mortality rates varied from 49 per 100,000 (95%CI: 49 to 50) in the South West to 102 per 100,000 (95%CI: 102 to 103) in London. Non-COVID-19 associated excess mortality rates ranged from -1 per 100,000 (95%CI: -1 to 0) in Wales (i.e. mortality rates were no higher than expected) to 26 per 100,000 (95%CI: 25 to 26) in the West Midlands. Interpretation The COVID-19 pandemic has had markedly different impacts on the regions of England and Wales, both for deaths directly attributable to COVID-19 infection and for deaths resulting from the national public health response.

Competing Interest Statement

The authors have declared no competing interest.

Clinical Trial

This is a study based on publicly available official government mortality data

Funding Statement

No external funding was received for this study

Author Declarations

I confirm all relevant ethical guidelines have been followed, and any necessary IRB and/or ethics committee approvals have been obtained.

Yes

The details of the IRB/oversight body that provided approval or exemption for the research described are given below:

This study is based on publicly available official government mortality statistics and hence did not require specific ethics approval.

All necessary patient/participant consent has been obtained and the appropriate institutional forms have been archived.

Yes

I understand that all clinical trials and any other prospective interventional studies must be registered with an ICMJE-approved registry, such as ClinicalTrials.gov. I confirm that any such study reported in the manuscript has been registered and the trial registration ID is provided (note: if posting a prospective study registered retrospectively, please provide a statement in the trial ID field explaining why the study was not registered in advance).

Yes

I have followed all appropriate research reporting guidelines and uploaded the relevant EQUATOR Network research reporting checklist(s) and other pertinent material as supplementary files, if applicable.

Yes

Evangelos Kontopantelis 
Mamas A Mamas
 
John Deanfield

Miqdad AsariaTim Doran

Swansea Castle

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Swansea Castle was founded by Henry de Beaumont in 1106 as the caput of the lordship of Gower, in Swansea, Wales.

The original castle seems to have been a sub-rectangular/oval enclosure overlooking the River Tawe on the east, surrounded on the north, west and south sides by a larger sub-rectangular outer bailey. The inner bailey probably contained a motte but the other view is that it was a ring work. The new castle was attacked by the Welsh in 1116 but the inner castle held.

After various other unsuccessful attacks the castle fell in 1217 but was restored to the English in 1220 as part of the settlement between Llywelyn ap Iorwerth and Henry III of England. Immediately after this the inner castle was probably walled in stone with at least one tower.

Later in the 13th century the large outer bailey was also walled. The only visible remains are two sides of a rectangular “new castle” built in the South East corner of the outer bailey in the late 13th/early 14th century. The south face (which ends in a tall garderobe tower) is capped with an elegant series of arcades at the wall-head, which are similar to structures at the Bishop of Saint David’s palaces at Lamphey and St David’s.

By then the castle had lost its military importance. It is not known whether it fell to allies of Owain Glyndŵr early in the 15th century.

In the 18th and 19th centuries parts of the castle were variously used as a market, a town hall, a drill hall and a prison.

Now

Part of the interior of the new castle was demolished early in the 20th century in the construction of a newspaper office. The remains have now been consolidated and opened up to view from the street.

References

  • See generally B Morris, Swansea Castle; RCAHMW, Glamorgan, Vol III, part (1b), The Later Castles (2000).

 

Creative Commons License This article is licenced under:  Creative Commons Attribution 4.0 International License. Source: http://www.1066.co.nz/

I’m a Celebrity 2020 – Images of “TV Studio” in North Wales

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North Wales news and information

Drone images have been released showing Gwrych Castle and the preparations involved as it prepares for the ITV series of “I’m a Celebrity, Get Me Outta Here”

A popup TV studio has been constructed along with other temporary structures which are believed to be for individual challenges.

Ant & Dec will be the usual hosts and will be broadcasting during the evenings of the series. This will be the first time that the series has moved away from the Australian outback jungle, the winner will be crowned King or Queen of the Welsh Castle.

The images can be seen below, click on the images to see larger versions.

 

Images republished from http://dronepics.wales/ under Creative Commons Licence

Fay Jones attempts to encourage people to cross borders and break Covid-19 lockdown

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Fay Jones, MP for Brecon & Radnorshire requested Boris Johnson to “encourage” travel and to stop the Welsh Government creating artificial barriers between Wales and England.

Fay Jones said “Brecon and Radnorshire has around 50 miles border between Wales and England. My constituents who are in lockdown regularly travel across the border for work, healthcare and education. Can my Right Honourable Friend confirm that essential travel across the border is not only permitted but also encouraged and that the Welsh government should not be using this pandemic to create artificial barriers between Wales and England.”

Boris Johnson replied “Urr, Umm, Uhh, Mr. Speaker I’m, I, I understand the frustrations that err my honrouable friend has and I know err how deeply difficult it is for uhh people throughout this country to go through the restriction err on this normal way of life that we have and we are asking people to err to do again and I apologise to her and to the err house in what we are obliged to do but err we must ask people unless its absolutely necessary err to stay at home and err stop transmission of the virus and that err that applies throughout the UK”

On her Facebook page, people again showed their disgust towards Fays actions and made many comments. In an attempt to negate the negative comments towards her, Fay Jones replied “My question was misunderstood. I want to make sure that my constituents are still able to access work, health care and education. The statement from the First Minister today creates some impression that there is a solid border between the two countries. This is not the case and people need to know they can visit Hereford Hospital or Shrewsbury Hospital for treatment, particularly when appointments are at an all time low. Hospital appointments must not be missed, businesses should be encouraged to continue operating following Covid guidelines and education must continue.”

Fay Jones’s attempts to negate and deflect criticisms of why she requested that people from England should be encouraged to cross the border into Wales and vice versa were met with people pointing out that her claim that people need to know they can visit hospitals, education are allowed and have always been allowed.

Here we have a Conservative MP in Wales who has openly shown her disregard for the Welsh Government in requesting that Boris Johnson encourage travel across the border. Fay Jones has previously shown her disregard for laws in her vote to break international law which has been condemned here: www.janedodds.wales/internal-market-bill

 

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Geoff Charles (photojournalist) “Bad Language is Degrading” sign on a steam roller in Pontardawe

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A "Bad Language is Degrading" sign on a steam roller in Pontardawe
Teitl Cymraeg/Welsh title: Arwydd “Bad Language is Degrading” ar rholer metlin

Pontardawe.Ffotograffydd/Photographer: Geoff Charles (1909-2002).
Nodyn/Note: An image of Tommy Jones, Arthur Lewis (Llanrhidian), Dennis Parkin (Bridgend) and Emrys Davies (Penclawdd) standing with the steam roller which had a sign that read “Bad Language is Degrading” on it. .

Dyddiad/Date: September 14, 1951..Cyfrwng/Medium: Negydd ffilm / Film negative.Cyfeiriad/Reference: (gch14502).Rhif cofnod

Geoff Charles was a photojournalist who worked for over 50 years capturing images of Wales with his camera. From the 1930s onwards he worked extensively in north and mid Wales for newspapers such as The Wrexham Star, The Montgomeryshire Express and Y Cymro. On his retirement in 1975 he gave his collection of about 120,000 negatives to The National Library of Wales. The work of digitising this enormous collection began in 2000, and at present just over 30,000 of his images of Wales in the 1940s, 1950s and 1960s are available on the National Library’s website.

Fearing the national security law, Hongkongers say farewell to their home city

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Farewell to Hong Kong. Image from Stand News, used with permission.

The following story was originally published in Chinese on Stand News. It was translated into English by Global Voices and will be published here, with permission, in five different parts. Part One of the series follows.

Between August 29 and September 1, Stand News asked its readers in Hong Kong, through a series of online polls, how the national security law has impacted their lives.

More than 2,580 people responded — and about 37 percent revealed that even before the Steering Committee of the National People Congress announced its decision to implement the national security law on May 21, they had considered leaving Hong Kong. Since the law’s enactment, 76 percent of respondents said their desire to emigrate had intensified.

The most popular destination for relocation is Taiwan (32.3 percent), followed by the United Kingdom (23 percent).

Stand News’ reader survey on emigration attitude.

On July 22, the UK government introduced a policy that facilitates the emigration of residents from its former colony, by allowing eligible Hong Kong British National (Overseas) passport holders and their family members to settle in the UK for work and study. After five years of residency under this British National Overseas (BNO) arrangement, they can apply for full citizenship.

The new immigration scheme will begin accepting applications in January 2021. For now, though, eligible Hongkongers can apply to enter the UK based on “Leave Outside the Rules” (LOTR) — guidelines that allow UK Immigration to exercise discretion on the basis of compelling compassionate grounds.

YM [pseudonym] and her family decided to use this option. They left Hong Kong and, upon their arrival in the UK on August 6, applied for “Leave Outside the Rules” entry. Along with about ten other Hongkongers who were queuing up for the interview, they were asked about their occupation, financial conditions, and religion, as well as about their relatives and acquaintances in the UK.

Born in the 1980s, YM was working as a manager in a public relations firm in Hong Kong, but decided to leave the city with her family in August 2019 after the infamous attack at Prince Edward subway station, in which riot police indiscriminately assaulted passengers in an attempt to arrest protesters.

They sold their apartment for six million Hong Kong dollars (approximately 781,000 US dollars) and lived in a hotel for six months. At first, they planned to immigrate to Cyprus by investing 200,000 Euros in the country, but that plan was put on hold due to the outbreak of COVID-19. When the UK introduced the new BNO scheme, they decided to settle there.

Like tens of thousands other Hongkongers, YM was active during the year-long, anti-China extradition protests. She had joined a number of Telegram groups and made donations to fellow protesters who needed to equip themselves with protection gear. Three of the Telegram groups she belonged to were deleted after their administrators were arrested.

In a protest photo that was widely circulated online, YM’s face was recognisable; quite apart from her worry about getting caught in the cross hairs of the authorities, she told Stand News she was also concerned about her seven-year-old daughter’s education:

The patriotic education would turn her into ‘little pink’. What you learn in the textbooks would no longer be the truth. How could a government treat its young generation like this? In Hong Kong, it is a crime to be young. My daughter is now seven, after a few years, she will be in high school, what would become of her? I don’t want to see her getting arrested.

“Little pink” is a term used to describe young Chinese nationalists on the internet.

Now that YM and her family have successfully entered the UK under “Leave Outside the Rules”, they have started a Facebook page aimed at providing other Hongkongers with information on immigrating to the UK. Within one week, the page received more than 60 inquiries.

YM and her family have since decided to buy a property in the UK, and have no plans to visit Hong Kong in the near future.

Stand News’ reader survey on emigration.

Peter [pseudonym], a civil servant who plans to move to Taiwan with his wife, has signed up for a migration scheme under which he would invest a minimum of HK $530,000 in a Taiwan-based start-up. After five years, he will be able apply for permanent residency.

He chose Taiwan because he believes the fate of Taiwan and Hong Kong are intertwined: “Both Chinese regions are subjected to the tyranny of ‘One China’,” he said:

Taiwan is near to Hong Kong; I can travel back to Hong Kong as frequently as possible. I can also join solidarity rallies in Taiwan and give support to the exile protesters there. In Hong Kong, the space for voicing out has shrunk.

According to Taiwan’s immigration authorities, the island granted 3,161 residency permits to Hongkongers in the first half of 2020. The figure reflects a 116 percent increase when compared to 2019.

Many of those who don’t plan to emigrate — or want to but still haven’t left — have transferred their savings to offshore bank accounts, since the national security law gives police the power to freeze the assets of anyone being investigated. In the Stand News reader survey, 55.8 percent of respondents admitted that they’ve considered transferring their savings abroad, with around 27.8 percent having already moved their money into foreign accounts.

Mr. Lam [pseudonym], an environmental project engineer, made the decision to transfer his savings to an offshore account in May, soon after Beijing announced the implementation of the national security law. He feared that, like mainland China, Hong Kong would restrict foreign currency exchanges, or that the Hong Kong/US dollar peg would be undermined as a result of US sanctions. He therefore converted his HK $10 million nest egg into US currency and moved the money to bank accounts in Singapore.

Since Mr. Lam is already in his fifties, he is considering emigrating from Hong Kong upon his retirement. As a BNO passport holder, one of his options is to settle down in the UK, but he has also considered applying for a retirement visa to Thailand, as the country only requires a savings account worth HK $200,000 in order to apply for residency.

How the world’s six largest economies are faring amidst the global political economy of COVID-19

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Coronavirus image concept of medical face mask and money, representing the pandemic and economic damages by Jernej Furman on Flickr, CC BY 2.0.

By Ian Inkster

On September 6, 2020, officially recorded cases of COVID-19 surpassed 27 million, with a mortality of over 884,000 people. Although we are still in the midst of this global pandemic, thoughts are increasingly turning to its ultimate economic impacts. Here we show that the economic impress of the virus in any nation will be closely related to the extent of virus cases and mortality and the condition of the economy prior to the endemic, as well as to virus management policies.

The political economy of any one nation, however, is interlinked with the global economy, and because of this the scale of activities in the largest economies really does matter—they may even be of greater importance to a nation’s ease of recovery than the effectiveness of its COVID-19 management regime.

Table 1 below lists the six major economies by GDP, noting overall COVID-19 incidence since the inception of the virus.

Row A shows cases per million, Row B shows deaths per million, and Row C shows deaths per number of cases in each nation. Together, these six nations represent 44 per cent of the world’s population (E), 42 per cent of COVID-19 cases (D), and 57 per cent of global GDP—so they are of tremendous importance in all respects.

It is immediately clear that the crude total of cases (Row D) says nothing much about real impacts. India, for instance, has a huge number of cases but a much smaller ratio of cases/population than the USA or the UK. Indeed, Britain—with far fewer total cases than India—has a disastrous statistical record: the largest number of deaths per million and by far the largest ratio of deaths to cases (Row C), often termed the “observed case mortality ratio”, at over 12 per cent compared to Japan’s 1.9 per cent. Germany, usually seen as exemplary in the West, in fact has a much greater case mortality ratio than Japan or India. Things are not quite what they seem when compared to the “spike talk” and abrasiveness of the Western press, in particular.

Poverty, Age, and COVID-19

Table 2 moves towards an interpretation of this data. First, the poorer the nation as measured by per capita purchasing power parity income (that is, World Bank data) the lower the incidence and morbidity of COVID-19. Moving along Row F, India has a per capita income of only 13 per cent of the USA, 15 per cent of Germany’s, or 18 per cent of Japan’s. Yet the presence of COVID-19 in India, despite headlines of alarm, is far lower.

Rows G and H explain this substantially. In an income-poor nation such as India, the population of youngsters 0-19 years old (G) is very high, at 35.7 per cent, compared to 17.2 per cent in Japan or 17.7 per cent in Germany. As the virus has little impact on the young, this substantially reduces the proportion of the population subject to infection in India. Again, the very low percentage of elderly people (Row H, 6.6 per cent) compared to each of the other five nations is startling. Germany’s 22.2 per cent means that death per capita there should be much higher than in India by a multiple of 3 or 4, as COVID-19  results in mortality among the elderly far more than among younger age groups. Even in China, where Maoist population control reduced births, focused on smaller families and achieved longer survival amongst the elderly, the age differentials based on low income do possibly explain the China’s good COVID-19 performance—we do not have to believe Trumpist rhetoric about lying and mischievous Chinese authorities.

The advantages of relative poverty

The other elements of Table 2 that act as advantages for India and China compared to the other four nations centre on much lower urbanism, lower air pollution, and more distant borders (Rows J-M). Row J shows emissions of carbon dioxide, methane, nitrous oxide, perfluorocarbon, hydrofluorocarbon and sulphur hexafluoride per capita in metric tons. The combination of high air contamination with very high degrees of urban living in the richer of the six nations is a possibly potent factor in transmission and severity of the virus, although research on this is ongoing.  Again, in the poorer large nations, the table shows long borders, but these are distant from urban centres and sparsely populated in the main. In contrast, the USA has considerable borders in dense settlement regions adjacent to other high-COVID-19 nations—Canada with 3,479 cases per million, Mexico with its 4,372 cases per million.

The life expectancy results in Row P spell out the effects of low income and low health expenditures—Indian life expectancy being 15 years and more below that of Japan. So, while the lack of health funding in the low-income nations (with Row N showing USA spending 20 times as much and 4 times the proportion of its GDP, in comparison to India) is a depressing global fact, it is not sufficient to raise infection or morbidity levels of COVID-19 in comparison to those of the rich nations of this group.

Complexities, political economy of COVID-19

Table 3 below turns to the likely economic impacts of COVID-19 following our overall analysis.

The biggest factor in recovery will probably be the extent of COVID-19 spread. Thus, Japan and the UK have almost identical incomes per capita, (Table 3, Row Q) but Japan has a far lower incidence of COVID-19 (Table 1, Rows A-C), less than one-quarter of British cases, a tiny fraction of its observed case fatality ratio. We can expect an easier Japanese recovery. On the other hand, generalising across the board, several other factors are involved in any economic forecasts, as suggested in Table 3.

Row T shows different rates of GDP in the six nations in post-recession years, and, other things being equal, the fast-growing China and India have a better running start on recovery. Their lower levels of national debt (Row R) means that they might have more public-funding slack—that is, growth will reduce debts from “recovery spending. At the same time, these two nations have a greater opportunity to borrow public funds through increasing their national debts.

In contrast, Japan has a very high existing national debt (R) but low COVID-19 presence, so might be able to trade her way out of imminent funding problems—Row S, showing that, as with Germany, Japan has a surplus on her export-import trade balance (e+i%).

Trade will be crucial. Row Y shows a high mutual dependency on trade in this group—the calculation here shows the number of the six nations listed as within the top four importing/exporting nations of the nation concerned; a figure of 0 would indicate minimum dependency, a figure of 4 the maximum. The figures of 2 and 3 throughout this row, therefore, show a high dependency of trade within the group—severe trade failure as a result of slow COVID-19 recovery in any members will demonstrably impact on the others. So, the large nations, in a pessimistic scenario, could well lead the rest of the world into further economic recession through a fall in their trading activity outside the group.

This is highlighted when we focus on the US and China as trading nations, bearing in mind that the total Chinese economy is growing much faster than that of the US (Row T). In 52 of 64 major economies globally, China is ranked in the top 4 as an exporter or importer to them. In 33 cases China is the major origin of their imports. China imports 10 per cent less than it exports, and has been growing very rapidly for some time. In contrast, the USA has a smaller world impact, trading disproportionately across her own borders with Canada and Mexico, or with China and Japan. The USA imports 20 per cent more than it exports, and its GDP has been growing at a rate of around 30 per cent of that of China. Crucially, the proportion of Chinese imports that go to poorer, non-industrial nations is around twice that of the USA. We may conclude that although severe trade decline would affect all nations, severe Chinese decline would be very serious for a much greater array of nations, and especially so for poorer or developing countries.

Constraints on policy choices

Finally, the political dimension can only be surmised. Rows W, X, and Z provide something approaching a measure of a comparative political economy for the six nations. The HDI, or human development index, of the United Nations incorporates life expectancy, education and incomes, and Row X adds the degree of income inequality between nations—the lower the figure the greater the equality. India suffers badly here from its low HDI position, which would hamper longer-term recovery from COVID-19. Surprisingly, given the range of political systems in this group, levels of equality/inequality are nothing to boast about but are relatively similar. So, these nations would have difficulty driving forward economic recovery programs that dampened the high levels of HDI, and at the same time—as shown in Row Z—they have very strong positions of political and economic freedom as measured by Freedom House earlier in 2020. As indicated by “*”, all nations other than China are defined as “electoral democracies,” with Germany and Japan leading in this regard. China is the odd nation out.

Six nations and global recovery

The conclusion is awkward. This immensely influential portion of our COVID-19 world has suffered more than average from the virus, has managed this in very varied ways, mostly problematic, and is economically highly interrelated.

The US recovery is likely to be slow and hard to predict, in that it suffers hugely from COVID-19, has a low rate of economic growth, and, as Rows X and Z of Table 3 suggest, Freedom House has reason to identify the USA as leading a decline in liberal democracy and the “functioning of government, freedom of expression and belief, and rule of law.” This judgement was made just prior to the COVID-19 outbreak.

India might well be a contrast, with a faster recovery due to lower COVID-19 impacts and advantages stemming from all the elements listed in Table 2. A speedy recovery in China together with reasonable growth in India could be the leading optimistic combination—they both have fast rates of growth in the recent COVID-19 past, and they are complementary traders. China, in particular, impacts a wider range of less-developed nations than does the US or the other Big Six nations. In addition, China has political room to move—no electorate complaining of declining democracy, a very low degree of political freedom as defined by Freedom House, (Row Z), so an ability to push through determined programs for recovery and open trade.

Finally, in this very complex situation, we might find that the US-China trade war changes in tone, from a simple dualism to a general division between US pressure for global protectionism and a Chinese insistence on global free trading.

Professor Ian Inkster is a global historian and political economist at SOAS, University of London, who has taught and researched at universities in Britain, Australia, Taiwan and Japan. He is the author of 13 books on Asian and global dynamics with a particular focus on industrial and technological development, and the editor of History of Technology since 2000. Forthcoming books are Distraction Capitalism: The World Since 1971, and Invasive Technology and Indigenous Frontiers. Case Studies of Accelerated Change in History, with David Pretel. Follow him on Twitter at @inksterian.

The Gower, brief introduction & pics

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                      Welcome to Gower, Swansea, Wales

                                            the romantic swirling mists at Rhossili, Gower, Swansea

                           The dawn mists of Rhossili Bay, Gower, Swansea, Wales

Over forty years ago, the Gower peninsular, Swansea County,  became the U.K.’s first officially designated Area of Outstanding Natural Beauty.  From enchanting rugged countryside to historic woodlands, quaint thatched cottages to mysterious castles; wild ponies roam here across Europe’s most spectacular seascape scenery. Gower is a dozen golden bays, a land of legends and prehistoric secrets swept over by ancient sands. Gower visibly reflects a broad timeline from pre-history to a sedate rural lifestyle long forgotten elsewhere. 

At just nineteen miles wide, the peninsular represents the epitome of ancient Celtic beauty and a microcosm of old-world charm – Gower is the very pride of Wales … Gower is a living Welsh poem.

Some of the oldest human remains have been discovered on Gower; a testimony to the people who have lived on this dramatic, golden-soaked coastline for many thousands of years. Some villages are buried beneath the sands, but other monuments stand above land as a reminder of the civilisations which existed long before time froze over Gower.

Reaching the peninsular is a seamless journey travelling west from Swansea Bay for just a mile or two. Many people like to walk the coastal path from Swansea Maritime Quarter which ensures you never lose sight of the angry sea crashing on the rocks below. In no time you’ll reach the peninsular’s first dazzling golden bay, or a cosy Gower village pub … your sensations will start tell you that you’ve walked into a dream.

 penclawddponies.jpg (26412 bytes)

Wild ponies roam at Loughor Estuary, Penclawdd, Gower, Swansea

Mumbles Lighthouse

Mumbles Lighthouse located on "Mumbles Head" - the outer island

For many, Mumbles lighthouse is more than just a beacon to warn ships of the impending danger of the Mumbles rocks at Swansea Bay – it’s also an illuminated gateway to Gower peninsular. For locals, the lighthouse iconises Swansea Bay and is a reassuring sight to all.

Mumbles Lighthouse is located on “Mumbles Head” – the outer island of three striking rock formations which characterises the western flank of the bay. The lighthouse was established in 1794 and was necessitated by several wrecks. Its primary purpose is to guide maritime vessels safely into the bay and it’s visible to approaching ships for some 16 miles. At low tide level the lighthouse is accessible on foot from neighbouring Bracelet Bay but low and high tide times need to be confirmed, due to the inevitable dangers of being cut off from the Mumbles mainland. Conversely, the lighthouse station can be reached by boat at high tide, although this presents its own dangers.

The first lighthouse structure, built by the Swansea Harbour Trustees in 1792, collapsed on completion and was immediately rebuilt from the designs of Swansea architect William Jernegan. The present lighthouse structure was functional by 1794, and was lit by an open coal fire. Initially, two fires were arranged in a vertical format to distinguish the illumination from neighbouring lighthouses, but these were soon replaced by an oil lantern and a lens configuration simulating two beams.

Mumbles head fort was constructed on the rock in 1860, in preparation for a potential invasion by Napoleon III of France. Although such an attack was never forthcoming, the fort came into use again to contain a small battery of soldiers during the Second World War. Parallel with Mumbles Head is a 835 ft. wood and iron pier, built in 1898 as an entertainment’s terminus for the  Swansea and Mumbles Railway.

The last resident lighthouse keeper left in 1934 and in 1969 the lighthouse was converted to run automatically from electric power; this in turn has been converted to solar powered operation. The solar panels were established on the roof of the military fort. The beam of light consists of four flashes every twenty seconds – and fog horn facilities are installed for low visibility conditions.

Mumbles Head and lighthouse, Swansea, Wales 

  Rhossili Bay, Gower, Swansea, Wales Rhossili Bay

One of the most dramatic bays in Europe, three mile wide Rhossili Bay presents a staggering view across the adjacent cliff tops which rise above 200 feet. The dramatic hillside setting of Rhossili Down (pictured) rises to 600 feet above the sweeping bay and is a favoured launching spot for hang gliders and parascenders. Marking the south westerly tip of the peninsular, elongated island Worm’s Head points for a mile out to sea. The name is a corruption of an old Norse word meaning “dragon”. Prehistoric tools and bones have been found within a dark chamber at the tip of this mysterious headland. The location is an archaeologist’s treasure trove with an Iron Age camp, Megalithic burial mounds, and “Sweyn’s Chambers”, which charts the Stone Age presence of human habitation at Rhossili. The frame of an 1887 coaster wreck, “Helvetia”, is visible in the sands. Home to rare species of wildlife, Rhossili has been in the ownership of the U.K. National Trust since 1967. In past centuries, Rhossili has been a regular haunt of smugglers and a haven for pirates – nearby Brandy Cove derives its name from an illegal liquor trade rife in 19th Century Gower. The charming village centre offers traditional Welsh teashops and the Worm’s Head Hotel (below) provides glorious bayside views. Local church, St Mary’s, dates back to 12th Century; it’s original owners were the Knights Hospitallers of St.John of Jerusalem. The church has an original 14th Century window which was known as the “leper’s window” – its low position permitted contagious paupers to hear the word of the scriptures from outside only! The northern flank of the bay, Llangennith, entices surfers and windsurfers, and the remains of a World War II radar station lies ruined in the fading memories of Swansea’s most terrifying moments. The sandy island of Burry Holmes bears testimony to Rhossili’s enigmatic past – the remains of a 6th Century monastery are just visible where a stone wall protrudes from its cloak of sand.
Worm's Head, viewed from Worm's Head Hotel, Rhossili, Gower, Swansea, WalesSunset over Worm's Head    Rhossili Bay Click for Rhossili Bay, looking towards Worm's Head   Rhossili Bay autumn

  Oxwich Bay, Gower, Swansea, Wales

Oxwich Bay

Oxwich Bay  is an intoxicating blend of almost interminable sand dunes, marshland, woodlands & picturesque thatched cottages. It is a microcosmic world of sea, hills, forest and wetlands. Its marshes are a nature reserve of Special Scientific Interest and the broad sandy bay is a favourite launch location for speedboats. The two mile bay is overlooked by a 500 year old Tudor castle, St. Illtyd’s Norman church, a Georgian mansion and an attractive waterside hotel. John Wesley, the religious reformer, resided here at one of the picturesque cottages close to Oxwich Green.

  Click here for Oxwich Bay view    Click here for John Wesley's cottage view

 

Three Cliffs Bay, Penmaen, Gower peninsular, Swansea, Wales

 

Three Cliffs Bay

 

For centuries, Three Cliffs Bay has entranced visitors with its curious triple-toothed limestone formation. The remains of an Iron Age settlement bear testament to the existence of a cliff top community which enjoyed a similar view to the picture above. Tantalisingly, the buried stones of a ruined church support a Medieval fable about a village which lays buried in the expansive sands of Three Cliffs. A winding water channel snakes through the adjoining valley woodland which leads to the crumbling gate towers of Pennard Castle. Abandoned by 1400, William de Breos’s two-storey stone structure had only survived a hundred years of storms before the encroaching sand, rather than embattlement, claimed the castle. Nearby excavations at High Pennard have revealed thread and pottery evidence dating to the First Century A.D., which suggests Roman habitation.

    Click here for Pennard Valley view    Click here for Three Cliffs Bay view     Caswell Bay, Gower, Swansea, Wales

 

Caswell Bay

 

One of Swansea’s most popular bays is a powerful magnet for families, horse riders, windsurfers and surfers. Few people remember Caswell Bay’s old windmill, perched on the headland above the beach, and only the initiated are aware of the overgrown Iron Age hillfort which is located to the west of Caswell Bay. Landside of the bay, Bishop’s Wood Nature Reserve is popular with walkers, the woodland path is abbreviated by the ruins of Caswell Chapel, a square priest’s house and the stone lined aperture of St.Peter’s well and spring.

click for Caswell Bay  

Langland Bay, Gower, Swansea, Wales

 Langland Bay

DistinctiveLangland Bayhas been a seaside playground for a hundred years or so. Characterised by its khaki and white bayside beach huts, Langland is a famous surfing bay. The tennis courts and exclusive golf club provide popular alternative land-based activities. Langland is a dramatic 2 kilometer cliff walk east from Caswell Bay via a narrow coastal path.

Article from archive.org / welshwales.co.uk (deleted website)

The Festival of Britain 1951 – Swansea

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The Festival of Britain (1951) beyond London

Abstract

This article takes a focussed look at how the Festival of Britain was marked outside the main events in London, with an examination of what was organised in Wales and in particular in the city of Swansea. It asks how national was the Festival of Britain, which was intended to convey a sense of national identity.

Context and purpose

1After the end of the Second World War in Europe, the general election held in the United Kingdom on 5 July 1945 returned a Labour government with a landslide victory and a majority of 145 seats in the House of Commons. The Labour government, led by Clement Attlee, implemented a programme of sweeping social and economic change. In 1947, in a context of continuing rationing, deprivation, shortages, when 2 million people were unemployed and there was a shortage of foreign currency to buy food overseas, the Deputy Prime Minister, Herbert Morrison, proposed a festival to mark the centennial of the Great Exhibition of 1851.

2However, the new festival was intended to celebrate Britain as a nation and its achievements. A prime idea was that the festival should help to boost morale and be “a tonic to the nation”. Unlike its 19th century predecessor, it was decided not to refer to the Empire, but the wish was to focus instead on the viability of British democracy and to show the vibrant cultural life in Britain. The idea of holding up a mirror to the nation was to show British people “winning the peace”, when the international background of the early years of the Cold War was one which contained the looming threat of nuclear war.

3Projecting and celebrating a sense of national identity was closely linked to Memory, remembering who the British were, which chimed with a national sense of place, as the rebuilding of Britain led to rethinking a national sense of place. The Land and the People was therefore the theme: a national display of the interwoven serial story of Britain. The architects and designers involved were strongly influenced by their attachment to the land of Britain and the history of the place. Yet, while being in tune with the past, there was a strong emphasis on design, art and architecture. This was allied with attempts to market the project – and the country – and attract victors from UK and overseas, although in the end the only tourists who visited Britain were mainly expats.

4There were objections to the Festival and these included the extensions made to licensing hours, meaning the pubs could stay open longer. The Festival was viewed by some as a ludicrous imposition at a time of hardship and left-wing critics viewed it as a waste of time and a diversion of funds at a time when Britain was in dire need of new housing and job creation. Right-wing objectors viewed the whole thing as socialist propaganda seeking to publicize the new Britain envisaged by the Labour government.

5Nevertheless, committees and bodies were set up, for example the Council on Science and Technology and one on Town Planning and Building Research. Existing organisations were mobilised: the Council of Industrial Design, the Arts Council, the Central Office of Information and the British Film Institute. The Church of England and the National Book League became involved. There was optimism that people would spontaneously join in and respond, and that the Festival would inspire unofficial manifestations but on the whole there was little public exuberance.

6The Festival of Britain centred on London and although ideas were mooted for the organisation of tours of the exhibition around the country this suggestion was quickly abandoned as it would have been too expensive to carry out. Nevertheless, events were organised all over the United Kingdom and not just in London. In many cases these events would have taken place anyway, but in the summer of 1951 they were labelled as part of “Festival of Britain”. As the souvenir guide to the South Bank Exhibition in London explained:

  • 1 Ian Cox, The South Bank Exhibition, A Guide to the Story It Tells, London 1951, H.M. Stationery Off (…)

The Festival is nation-wide. All through the summer, and all through the land, its spirit will be finding expression in a variety of British sights [sic] and a great range of British sounds. Taken together, these will add up to one united act of national reassessment, and one corporate reaffirmation of faith in the nation’s future.1

7Focus was given to each of the ‘four nations’ of England, Northern Ireland, Scotland and Wales although the Festival sought to portray Britain as a cohesive singular nation, with diverse cultures, but existing as a seamless whole, one of whose symbols was a common language. This message was repeated at the opening ceremony of the Glasgow Festival of Britain Exhibition of Power. “It is a well-deserved compliment to the land of so many famous engineers and inventors,” said Princess Elizabeth, adding that “the exhibition – like all of the Festival of Britain – belongs to the whole country”.2

A national festival?

8However, was it really “national”? Was all of the United Kingdom really encompassed in the Festival or did London dominate? Half of the official exhibitions were held in London (South Bank Exhibition site, Exhibition of Science, Exhibition of Architecture and the Battersea Pleasure Gardens) with one in Scotland (Exhibition of Industrial Power in Glasgow) and one in Northern Ireland (Ulster farm and factory exhibition in Belfast) while there were none in Wales. There was a travelling exhibition by land and a Festival ship, the Campania, that berthed at Plymouth. But the aim was to present a cohesive, single ‘story’ about Britain and so there was not really any place for representing the multiple national traditions and differences within the nation-state. Nevertheless, outside London, many events were in fact organised but there is no list or record of these, compiled in one central comprehensive way. No websites or authoritative books (such as The Festival of Britain Harriet Atkinson, 2012) indicate the existence of any such archive.

  • 3 R. C. Richardson, « Cultural Mapping in 1951: The Festival of Britain Regional Guidebooks » Literat (…)

9A series of 13 guides to regional areas was however produced, based on pre-war guides which had been sold to newly affluent middle-class tourists, but those produced in 1951 were different in that they depicted “ordinary” Britain alongside the usual picturesque attractions. The idea was to update people’s ideas about how Britain looked and so they simultaneously depicted industrial structures and rural traditions. Like the Festival itself they had something of a pedagogical side as they explained Britain’s topography and the way people lived, showing the history and diversity of the British Isles, yet depicting a modern technologically advanced nation. Each guide was quite highbrow and expected readers to be educated and with an ability to draw on literary and historical knowledge, which begs the question of the Festival of Britain and class as well as associated factors such as level of education and disposable income.3

  • 4 Joseph McBrinn, « Festival of Britain in Northern Ireland, 1951 », Perspective, pp.16-17, 26-27, n. (…)

10Events were held in many major English cities: Birkenhead, Glasgow, Manchester, Leeds, Birmingham and Nottingham, and in Scotland events were focussed on Glasgow and Edinburgh. Exhibitions included one on Industrial Power and another on Contemporary Books in Glasgow, a centre of heavy industry, while Edinburgh held a “Living Traditions” event on Scottish Architecture and Crafts and an exhibition on 18th century Books. Arts Festivals were incorporated into the Festival as well as the annual Gathering of the Clans. In Northern Ireland the major event was the Ulster Farm and Factory Exhibition in Belfast, where industry and countryside were celebrated and two farms were built: an 1851 farmhouse and a Farm of the Future.4 As elsewhere, Arts Festivals, which would have been held anyway, were given a Festival of Britain label.

Figure 1. Principal Events in the Festival Calendar. Source : South Bank Exhibition London 1951, Festival of Britain Guide, HMSO, 1951, p.95

Focus on Wales

11In the absence of any large-scale definitive study of this period, when trying to establish an idea of what the Festival of Britain entailed outside London, research on the internet and then in local libraries revealed that the summer of 1951 was celebrated in quite an extensive way in Wales, and this probably holds true for the rest of the UK.

  • 5 A Pathé film clip shows some aspects of this event but fails to include any reference to the Festiv (…)

12The Festival Office in London and the Welsh Festival Committee had decided that for Wales the annual celebrations of Welsh culture in Llangollen – the eisteddfodau – would be Wales’ contributions to the Festival.5 A few other events have been recorded in central archives, and these included a Pageant of Wales (25 July-6 August) and St Fagan’s Folk Festival (16-28 July), both held in Cardiff. This all added up to a distinctly quaint & rural representation of Wales which is perhaps not surprising. In 1951, unlike Scotland, Wales did not have a capital city (Cardiff was named as such in 1958) nor did it enjoy representation at national level, as the Welsh Office and a secretary of state for Wales in the cabinet did not exist until 1964.

Figure 2. Welsh Folk Museum, Festival of Britain poster. Source : Fflur Morse ‘A Tonic to the Nation’: St Fagans and the Festival of Britain 1951, National Museum of Wales

  • 6 Harriet Atkinson, The Festival of Britain: A Land and Its People, I.B.Tauris, 2012, p.119.

13Continuing the rural theme, the most ambitious plan seems to have been the Welsh Hillside Farm Scheme, at Dolhendre. This was an improved farm building scheme, where the ultimate aim was to show that the government was competent in farm management, a not unimportant fact in a post-war context of land being surrendered to central authority as a means of paying greatly increased death duties. This farm scheme is described as “the only significant Festival event in Wales” by a leading publication on the Festival of Britain6 but this ignores what seems to be quite considerable but hidden or forgotten evidence in local archives (newspaper cuttings, photos..) that many gatherings, large and small, including neighbourly street parties and concerts, were held in Cardiff (the Festival ship, Campania docked in Cardiff for twelve days from 31st July) and across Wales.

14Focus here will turn in particular to Wales’ second city Swansea. The public library holds a collection of miscellaneous documents gathered in one volume Festival of Britain Swansea Events 1951. The person who gathered together these items may have been a Mr L. Rees as his name is on several invitations from the Mayor of Swansea, to the official opening on 2 June, to a film and to an exhibition of Swansea pottery.

15The Festival programme in this collection announces a very extensive variety of activities organised throughout the city and its suburbs for the four months duration. It is interesting to note that the Festival opens with specially dedicated services in the different churches in Swansea (Church of Wales (Anglican), Roman Catholic and Methodist) while the History of the Prayer Book was the subject of a pageant in the first week and early in July Sunday School pupils put on a similar show. There was also an exhibition on work done by Welsh missionaries.

16Not unusually for Wales there are many concerts and musical events: brass bands, chamber music, male voice choirs and the Royal School of Church Music Welsh Regional Festival was held in the Brangwyn Hall which was also the venue for a series of concerts given by the London Philharmonic Orchestra. In September, the fourth annual Swansea Festival of Music and the Arts closed the Festival of Britain celebrations in the town with seven concerts, one of which premiered an oratorio by Welsh composer Arwel Hughes.7

17Drama, theatre, plays and dramatic representations or pageants were numerous. Many exhibitions were organised: photography, needlework, art, porcelain, and pottery, as well as one on industry and another on horticulture. Hobbies were showcased in different events and venues: chess, philately, arts and crafts and model engines and aircraft. Sporting encounters for children and adults included bowls, football, rugby, cricket,8 a youth olympiad and a sailing regatta. A demonstration of lawn tennis by Fred Perry and Dan Maskell on 12 July must surely have drawn the crowds just as rugby matches against specially invited teams (South Africa and an international team drawn from England, Ireland, Scotland and France) and a Swansea-Eindhoven friendly football match on 14 May, organised by the Football Association as part of a series of nationwide end of season Festival of Britain games,9 would have done.

Figure 3. Souvenir programme, The Festival of Britain 1951 Celebration. Association Football Match. Swansea Town v. Eindhoven. 14th May 1951. Source : private collection

18Women ‘s groups and youth associations (Scouts, Guides and Boys Brigade) are present on the programme with different kinds of activities. The armed services took a full part in the local festivities: HMS Sheffield visited the city between 12 – 17 July and there was an RAF pageant.

19More intellectual offerings were made by the university which organised several exhibitions and talks as well as an Open Week. A printed document from the University of Swansea describes the institution and the events of Festival week. The city library had displays and exhibitions too on Literary Swansea, which concerned local authors, including Dylan Thomas, as well as books about the city. A major sector of the Welsh economy was on display at a large agricultural show and in September a week was devoted to Trade and Shopping. The collection of documents in Swansea Library also include type-written histories of Swansea and brief biographies of local authors as well as information and bibliographies on the history of music in Wales.

20As a whole, as portrayed in this Swansea archive and from the official events organised throughout Wales, the Festival of Britain in the principality seems to have projected a picture of idyllic country activities, of artistic and sporting prowess, and ignored the industrial input of Wales, the coal mines (although a mural by Josef Herman portraying Welsh miners was displayed in the Minerals of the Island section of the South Bank Exhibition)10 and steelworks, the docks and railways. These were given prominence during the Festival, but had been concentrated in the Exhibition organised in Scotland, notably the Festival of Britain Exhibition of Industrial Power, held at Kelvin Hall, Glasgow.

Conclusion

21The Festival of Britain has been forgotten these days. This could be due in part to the immediate dismantling of Festival infrastructure by the Conservative government elected in October 1951. The only permanent edifice has been the Festival Hall on the South Bank of the Thames. If it had been a high point in post-war national life it was quickly replaced in public memory by the accession of Elizabeth II and the excitement and preparations for the Coronation in June 1953. It seems to have been just a particular moment in the nation’s hi/story.

22The fact that the Festival was vast and amorphous and not really centrally controlled or managed despite official focus on London may well have contributed to its being forgotten. In both Wales and Scotland, little remains of what was a transient cultural event. The Industrial Exhibition in Glasgow seems to have been forgotten too, despite its celebration of the industrial and cultural heritage of Scotland.11 Perhaps the fact that television was not well developed and there was no widespread media coverage also led to the Festival just fading away. Obtaining a more complete picture of how the nation celebrated itself in the summer of 1951 would require many hours of diligent research in local libraries in the hope that some documentation might turn up.

Notes

1 Ian Cox, The South Bank Exhibition, A Guide to the Story It Tells, London 1951, H.M. Stationery Office, 1951, p.6.

2 BBC, On this day. 28th May, «1951 : Glasgow powers up for the Festival ».

3 R. C. Richardson, « Cultural Mapping in 1951: The Festival of Britain Regional Guidebooks » Literature and History, November 2015, Vol. 24: 2, pp. 53-72.

4 Joseph McBrinn, « Festival of Britain in Northern Ireland, 1951 », Perspective, pp.16-17, 26-27, n.d.

5 A Pathé film clip shows some aspects of this event but fails to include any reference to the Festival of Britain. «International Music Festival. National Eisteddfod Festival. Llangollen, Wales» British Pathé, 9th July 1951, Film ID:1461.34.

6 Harriet Atkinson, The Festival of Britain: A Land and Its People, I.B.Tauris, 2012, p.119.

7 History of the Swansea Festival of Music and the Arts, West Glamorgan Archive Service, Reference GB 216 D 59/3/2, Dates of Creation 1950-1957.

8 See for example the amateur film, Pentrebach: Festival of Britain Cricket Match, showing the Royal Welsh Show held in 1951.

9 Non League Football Information: History: Festival of Britain football matches, 7th – 19th May 1951.

10 Josef Herman, Miners (1951), Glynn Vivian Art Gallery, Swansea.

11 William Hepburn, « Glasgow’s Forgotten Exhibition: The Festival of Britain at Kelvin Hall, 1951 », April 6, 2016.

Top of page

List of illustrations

Caption Figure 1. Principal Events in the Festival Calendar. Source : South Bank Exhibition London 1951, Festival of Britain Guide, HMSO, 1951, p.95
URL http://journals.openedition.org/mimmoc/docannexe/image/3625/img-1.png
File image/png, 247k
Caption Figure 2. Welsh Folk Museum, Festival of Britain poster. Source : Fflur Morse ‘A Tonic to the Nation’: St Fagans and the Festival of Britain 1951, National Museum of Wales
URL http://journals.openedition.org/mimmoc/docannexe/image/3625/img-2.jpg
File image/jpeg, 96k
Caption Figure 3. Souvenir programme, The Festival of Britain 1951 Celebration. Association Football Match. Swansea Town v. Eindhoven. 14th May 1951. Source : private collection
URL http://journals.openedition.org/mimmoc/docannexe/image/3625/img-3.jpg
File image/jpeg, 436k

References

Electronic reference

Moya JONES, « The Festival of Britain (1951) beyond London », Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain [Online], 20 | 2019, Online since 21 May 2019, connection on 12 November 2020. URL : http://journals.openedition.org/mimmoc/3625 ; DOI : https://doi.org/10.4000/mimmoc.3625

About the author

Moya JONES

Professeur de civilisation britannique émérite à l’Université Bordeaux Montaigne.

Copyright

Licence Creative Commons
Mémoire(s), identité(s), marginalité(s) dans le monde occidental contemporain – Cahiers du MIMMOC est mis à disposition selon les termes de la licence Creative Commons Attribution 4.0 International.

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