"Aye, but it were wasted on thee": Cricket, British Asians, ethnic identities, and the 'magical recovery of community'

People in sport tend to possess rather jaded perceptions of its colour-blindness and thus, they are reluctant to confront the fact that, quite often racism is endemic. Yorkshire cricket in particular, has faced frequent accusations from minority ethnic communities of inveterate and institutionalised racism and territorial defensiveness. Drawing upon semi-structured interviews conducted with amateur white and British Asian cricketers, this paper examines the construction of regional identities in Yorkshire at a time when traditional myths and invented traditions of Yorkshire and 'Yorkshireness' are being deconstructed. This is conceptualised through a reading of John Clarke's 'magical recovery of community'. Although cricket has been multiracial for decades, I argue that some people's position as insiders is more straightforward than others. I present evidence to suggest that, regardless of being committed to Yorkshire and their 'Yorkshireness', white Yorkshire people may never fully accept British Asians as 'one of us'. Ideologically and practically, white Yorkshire people are engaged in constructing British Asians as anathema to Yorkshire culture. The paper concludes by advocating that, for sports cultures to be truly egalitarian, the ideology of sport itself has to change. True equality will only ever be achieved within a deracialised discourse that not only accepts difference, but embraces it

The mis-shapen pearl: Morris, Handel, Milton, and l'allegro, il penseroso ed il moderato

Mark Morris's L'Allegro, Il Penseroso ed Il Moderato (1988), embodies ideas about how to live a good life. L'Allegro is unusual in that it is a full evening-length work, yet has no through-narrative; it has characters and action, but these change in each of the many individual sections. However, together these embody a dialogue – really a three (or four or even five)-way discussion between poet, composer and choreographer about the best way to live. The relationship between dance, music and text, and the implied conversation across the centuries between Milton, Handel, Jennens and Morris, offer insights into the way such layering of creativity can illuminate our engagement with art. As in so much of Mark Morris's work, the relationship of choreography and music is of paramount importance, and this will form the main focus of the discussion here. Handel's secular oratorio of 1740 is itself a setting of John Milton's companion poems, L'Allegro and Il Penseroso (1631), which explicitly explore through debate the relative merits of different approaches to life. Handel's musical setting includes an additional ‘voice’ in the debate: Il Moderato, words by Handel's librettist Charles Jennens, offering a ‘middle way’, or ‘18th century balance’, as John Eliot Gardiner has it (1980:16).1 For the purposes of this essay I focus chiefly on the dialogue between dance and music as manifest in a few ‘moments’, with reference also at times to the poetry and its rhythms. In this, I am guided by theories of art as embodiment as expounded by Paul Crowther. When we engage with art, we do so in the fullest sense of perceptual, that is, with our whole, embodied selves. Art, as the embodiment of ideas, does not teach us anything specific about the artist or his/her world, but it does reveal something of the world-view of the artist as an embodied being. There is thus the potential for empathy, and imaginative engagement; we are not passive consumers but active reciprocal participants. Through close reading of a few short examples drawn from the work, I employ structural analysis to examine music-dance relationships, referring also from time to time to the poetry, which itself reflects key characteristics of both choreography and music. These examples show how dance, music and poetry manifest characteristics that are suggestive of similar perspectives on life, both individually and in relationship with one another. John Creaser, writing of Milton's poems, observes that they embody a sophisticated and resilient playfulness conveyed through verbal nuance and rhythmic buoyancy, a revelation of temperament and sensibility rather than an exploration of ideals. (Creaser 2001:377

Did Wigan have a Northern Soul?

After the British marketing of Detroit’s take on electronic dance music in 1988, with the compilation Techno! The New Sound of Detroit, techno music has been interwoven with a particular representation of this North American city. Resonating internationally with other electronic dance music scenes, a unique mythology of Detroit techno draws new audiences to what was the capital of the Fordist automobile industry. Opening the discussion with Movement, the electronic festival central to Detroit’s annual Techno Week, we argue that Detroit and its citizens activate techno music to promote the renaissance of this once powerful industrial metropolis. Techno, and its associated cultural capital, act as value producers in the context of macro-economic urban regeneration processes within the local history and African-American futurist music aesthetics. From Detroit in the current era we trace back key issues, such as the mythology of Detroit as the “Techno City” and its DJ-producers, contrasting politics in Detroit’s techno scenes, and the appropriation of abandoned industrial spaces. Finally, the chapter addresses a dialogue of emerging techno music producers with the aesthetics of house music in Midwestern American industrial metropolis, Chicago. It is argued that techno dance music has articulated the technoculture since the late 1980s: in other words, it signifies lived experience of culture dominated by information and communication technologies in a city that had partly morphed into a post-industrial ruin