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                  <text>Medievalism on the Streets</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt;" lang="EN-AU"&gt;&lt;a href="http://abbeytournament.com/" target="_blank"&gt;http://abbeytournament.com/&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Abbey, Abbey Medieval Festival, Abbey Museum, Abbey Museum of Art and Archaeology, banquet, battle, Caboolture, costume, dancing, festival, jousting, market, music, QLD, Queensland, re-enactment, tournament</text>
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                <text>The Abbey Medieval Festival is held in the Queensland town of Caboolture, north of Brisbane, and is a major fundraising event held by the Abbey Museum of Art and Archaeology. The Festival is a week-long event that commences with a medieval banquet, features a mid-week Kids Medieval Fun Day, and concludes with a weekend tournament. During the festival visitors can see re-enactors in medieval clothing from various times and places in medieval Europe, jousting and mock battles, medieval music and dance, and purchase items at market stalls.  &#13;
&#13;
For more on the Abbey Museum go to the â€˜Archival Holdingsâ€™ section on this website.</text>
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                <text>3 January 2012</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;a href="http://www.aaf.org.au/" target="_self"&gt;&lt;span style="line-height: 115%; font-family: 'Tahoma','sans-serif'; font-size: 10pt; mso-fareast-font-family: 'Times New Roman'; mso-ansi-language: EN-AU; mso-fareast-language: EN-AU; mso-bidi-language: AR-SA; mso-bidi-font-weight: bold;"&gt;http://www.aaf.org.au/&lt;/span&gt;&lt;/a&gt;</text>
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                <text>ACT, Ancient Arts Fellowship, Anglo-Saxon, archery, armour, Australian Capital Territory, Bayeux Tapestry, bows, Canberra, costume, Dark Ages, early medieval, education, feast, jewellery, Norman, performance, re-creation, re-enactment, Viking, website, William the Conqueror.  </text>
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                <text>&lt;p&gt;Ancient Arts Fellowship, Inc. is a medieval re-enactment group based in Canberra in the Australian Capital Territory. They focus on the &amp;lsquo;Dark Ages&amp;rsquo;, or early medieval period, especially the 8&lt;sup&gt;th&lt;/sup&gt; century through to the Norman invasion of England in 1066 (images about this event from the Bayeux tapestry are featured on their website). Geographically the focus is on northern Europe and Britain, featuring such peoples as Anglo-Saxons, Normans, and Vikings. Members participate in combat, arts and crafts, and food, with their website claiming that you can &amp;lsquo;feast on food that William the Conqueror [c. 1028-1087] would have eaten&amp;rsquo;. The group run educational classes for school groups and do public performances.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://www.aaf.org.au/"&gt;http://www.aaf.org.au/&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>Ancient Arts Fellowship, Inc</text>
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                <text>&lt;p&gt;&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1075" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1075&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1071" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1071&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>This Collection traces the development of academic medievalism in Australiaâ€™s universities, and explores the disciplineâ€™s complex ideological affiliations. In this Collection you will find items relating to: the medievalist content of educational programmes, such as examples of university unit outlines; the teaching of the medieval through processes of medievalism, such as in demonstrations of medieval cooking or fighting techniques; and references to the medieval in modern educational debates and contexts.</text>
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                <text>&lt;p&gt;Ancient Arts Fellowship, Inc. is a medieval re-enactment group based in Canberra in the Australian Capital Territory. They focus on the &amp;lsquo;Dark Ages&amp;rsquo;, or early medieval period, especially the 8&lt;sup&gt;th&lt;/sup&gt; century through to the Norman invasion of England in 1066. Geographically the focus is on northern Europe and Britain, featuring such peoples as Anglo-Saxons, Normans, and Vikings. The group run educational classes for school groups from primary through to tertiary students. The sessions usually run for two hours and include a mixture of fighting and speaking. They have a number &amp;lsquo;Display Packages&amp;rsquo; to choose from that focus on major figures such as Alfred the Great and William the Conqueror, and various aspects of society including crafts, clothing, the Old English language, religion, law, monetary systems, armour and weapons.&lt;/p&gt;&#13;
&lt;p&gt;For their website see &lt;a href="http://www.aaf.org.au/displays"&gt;http://www.aaf.org.au/displays&lt;/a&gt;&lt;/p&gt;</text>
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&lt;p&gt;&lt;a href="http://ausmed.arts.uwa.edu.au/items/show/1069" target="_self"&gt;http://ausmed.arts.uwa.edu.au/items/show/1069&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>Newspaper Article &lt;span&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&lt;span lang="EN"&gt;&lt;a href="http://nla.gov.au/nla.news-article49053308" target="_blank"&gt;&lt;span style="font-family: Calibri; color: #0000ff; font-size: small;"&gt;http://nla.gov.au/nla.news-article49053308&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>This is What Women Wore in Bygone Times</text>
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                <text>&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;This  article features a photograph of costume head-dresses from the stage  production of Shakespeare&amp;rsquo;s &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;  performed in Perth in 1952 as part of a national tour by the John Alden  Shakespearean Company. The four actresses in the photograph are Lucille  Robinson and Elsie Dayne (ladies of the court), Mavis Turner (Perdita)  and Iris Hart (Emilia). The head-dresses  are described by the author as &amp;ldquo;millinery of medieval times&amp;rdquo;. &lt;/span&gt;&lt;/p&gt;&#13;
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&lt;/span&gt;&lt;span style="font-size: 10pt;"&gt;In &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;, Leontes, the King  of Sicilia, becomes consumed with jealousy that  Hermione, his wife, is having an affair with the King of Bohemia  (Polixenes). He instructs his councillor Camillo to poison Polixenes,  but instead Camillo reveals Leontes&amp;rsquo; plans and both he and Polixenes  secretly leave for Bohemia. The pregnant Hermione is  banished to prison, where she gives birth to a daughter. Refusing to  believe the legitimacy of the child, Leontes demands that the child be  burned alive and then, upon the protestations of his chief adviser  Antigonus, abandoned off the coast of Bohemia. In  the events that unfold over the following Act, Leontes refuses to  believe an oracle from Apollo&amp;rsquo;s Temple exonerating Hermione&amp;rsquo;s and orders  her trial to proceed, his son Mamillius dies, Hermione dies, Leontes  realises his mistake and repents, Antigonus is killed  by a bear and a shepherd finds the abandoned baby and takes her home.  Sixteen years later, in Bohemia, the story recommences with Polixenes  expressing concern that his son Florizel has fallen in love with a  shepherdess. He attends a sheep-shearing festival  in disguise, revealing himself at the last moment to prevent the  betrothal of the couple, after which Florizel and the shepherdess are  advised by Camillo (now Polixenes&amp;rsquo; chief adviser) to flee to Sicilia.  When Polixenes also arrives in Sicilia with the shepherd  and his son, the shepherdess&amp;rsquo; identity as Leontes&amp;rsquo; lost child is  discovered and her marriage to Florizel condoned, Leontes and Polixenes  are friends once more, and a statue of Hermione comes to life, revealing  that she is alive and has been waiting to be reunited  with her daughter.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;For a copy of the text, see: &lt;a href="http://www.gutenberg.org/ebooks/2248" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.gutenberg.org/ebooks/2248&lt;/span&gt;&lt;/a&gt;. &lt;/span&gt;&lt;/p&gt;</text>
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&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span lang="EN"&gt;&lt;span style="font-family: Calibri; font-size: small;"&gt;&amp;ldquo;&amp;rsquo;The Winter&amp;rsquo;s Tale&amp;rsquo; for Perth Stage&amp;rdquo; &lt;em&gt;The West Australian, &lt;/em&gt;13 September 1952, p.5 &lt;/span&gt;&lt;/span&gt;&lt;a href="../../../items/show/403"&gt;http://ausmed.arts.uwa.edu.au/items/show/403&lt;/a&gt;&lt;/p&gt;</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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                <text>â€œThe Winterâ€™s Taleâ€ for Perth Stage</text>
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                <text>Antigonus, Apolloâ€™s Temple, Bohemia, Camillo, costume, drama, Emilia, Florizel, head dress, head-dress, headdress, Hermione, jealousy, John Alden (1908-1962), John Alden Shakespearean Company, Leontes, Mamillius, medieval costume, medieval dress, oracle, Pauline, Perdita, performance, Perth, Polixenes, Shakespeare, shepherd, shepherdess, shoes, Sicilia, sleeves, stage, theatre, The Winterâ€™s Tale, WA, Western Australia, William Shakespeare (1564-1616)</text>
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                <text>&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;In this article from The West Australian in  1952, notice of the upcoming stage production  of Shakespeare&amp;rsquo;s &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo; by the John Alden Shakespearean  Company is given. The medieval costumes - including elaborate  head-dresses, pointed shoes and draped sleeves - would be particularly  appealing to Perth audiences, the article suggests, because  they were such a marked change from the plays usually performed on the  Perth stage. &lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;About The Winter&amp;rsquo;s Tale:&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;In &amp;ldquo;The Winter&amp;rsquo;s Tale&amp;rdquo;, Leontes, the King  of Sicilia, becomes consumed with jealousy that  Hermione, his wife, is having an affair with the King of Bohemia  (Polixenes). He instructs his councillor Camillo to poison Polixenes,  but instead Camillo reveals Leontes&amp;rsquo; plans and both he and Polixenes  secretly leave for Bohemia. The pregnant Hermione is  banished to prison, where she gives birth to a daughter. Refusing to  believe the legitimacy of the child, Leontes demands that the child be  burned alive and then, upon the protestations of his chief adviser  Antigonus, abandoned off the coast of Bohemia. In  the events that unfold over the following Act, Leontes refuses to  believe an oracle from Apollo&amp;rsquo;s Temple exonerating Hermione&amp;rsquo;s and orders  her trial to proceed, his son Mamillius dies, Hermione dies, Leontes  realises his mistake and repents, Antigonus is killed  by a bear and a shepherd finds the abandoned baby and takes her home.  Sixteen years later, in Bohemia, the story recommences with Polixenes  expressing concern that his son Florizel has fallen in love with a  shepherdess. He attends a sheep-shearing festival  in disguise, revealing himself at the last moment to prevent the  betrothal of the couple, after which Florizel and the shepherdess are  advised by Camillo (now Polixenes&amp;rsquo; chief adviser) to flee to Sicilia.  When Polixenes also arrives in Sicilia with the shepherd  and his son, the shepherdess&amp;rsquo; identity as Leontes&amp;rsquo; lost child is  discovered and her marriage to Florizel condoned, Leontes and Polixenes  are friends once more, and a statue of Hermione comes to life, revealing  that she is alive and has been waiting to be reunited  with her daughter.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"&gt;&lt;span style="font-size: 10pt;"&gt;For a copy of the text, see: &lt;a href="http://www.gutenberg.org/ebooks/2248" target="_blank"&gt;&lt;span style="color: #0000ff;"&gt;http://www.gutenberg.org/ebooks/2248&lt;/span&gt;&lt;/a&gt;. &lt;/span&gt;&lt;/p&gt;</text>
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                <text>&lt;span&gt;&lt;span style="font-family: Tahoma; color: #000000; font-size: x-small;"&gt;&lt;span style="line-height: 115%; font-size: 10pt;"&gt;National Library of Australia,&lt;/span&gt;&lt;span style="line-height: 115%; font-size: 10pt;"&gt; &lt;/span&gt;&lt;span lang="EN"&gt;&lt;a href="http://nla.gov.au/nla.news-article49052507" target="_blank"&gt;&lt;span style="font-family: Calibri; color: #0000ff; font-size: small;"&gt;http://nla.gov.au/nla.news-article49052507&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;a href="../../items/show/402"&gt;&lt;/a&gt;</text>
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                <text>The West Australian</text>
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                <text>&amp;ldquo;This is What Women Wore in Bygone Times&amp;rdquo;, The West Australian, 18 September 1952, p. 7, &lt;a href="../../items/show/402"&gt;http://ausmed.arts.uwa.edu.au/items/show/402&lt;/a&gt;</text>
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                <text>An article on page 8 of the Melbourne newspaper The Argus on September 9, 1922. The article corrects a previous article in The Argus that reported, based on accounts in American newspapers, that a Viking warrior had been found frozen in an iceberg off Greenland and taken to Copenhagen in a refrigerated state. Instead Dr Noerlund from Denmark found perfectly preserved menâ€™s costumes of the thirteenth and fourteenth centuries which, as the article points out, was the time of the Italian poet Dante. The artefacts were taken to a museum in Copenhagen. </text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="10575">
                <text>No Copyright</text>
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            <description>A language of the resource</description>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="33423">
                <text>Ascomanni Medieval Re-enactment Society, Copyright Â©2011</text>
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                <text>&lt;p&gt;Australian Morris Ring is an organisation that represents Australian Morris dancers. It represents &amp;lsquo;sides&amp;rsquo;, or Morris dancing teams, in all Australian states and territories except the Northern Territory. The groups perform the Cotswold, Borders (the border between Wales and England), and North West (of England) versions of Morris dancing, Morris dancing is an English folk dance that is attested from the late fifteenth century. There are also other dances mentioned elsewhere in Europe that may have a common origin.&lt;/p&gt;&#13;
&lt;p&gt;For more information see &lt;a href="http://www.morris.org.au/index.html"&gt;http://www.morris.org.au/index.html&lt;/a&gt;&lt;/p&gt;</text>
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