By Leigh Clemons
Ask someone to call an archetypal Texan, and you are prone to get a larger-than-life personality from movie or tv (say John Wayne's Davy Crockett or J. R. Ewing of TV's Dallas) or a political candidate with that yes swagger (think LBJ or George W. Bush). that every one of those figures are white and male and bursting with self-confidence is not any coincidence, asserts Leigh Clemons. during this considerate examine of what makes a ''Texan,'' she unearths how Texan id grew out of the history--and, much more, the myth--of the heroic deeds played through Anglo males in the course of the Texas Revolution and the years of the Republic and the way this id is developed and maintained by means of theatre and different representational practices. Clemons appears to be like at quite a lot of venues within which ''Texanness'' is played, together with old websites akin to the Alamo, the battlefield at Goliad, and the San Jacinto Monument; museums corresponding to the Bob Bullock Texas kingdom heritage Museum; seasonal open air dramas comparable to Texas! at Palo Duro Canyon; motion pictures equivalent to John Wayne's The Alamo and the IMAX's Alamo: the cost of Freedom; performs and television exhibits similar to the Tuna trilogy, Dallas, and King of the Hill; and the Cavalcade of Texas functionality on the 1936 Texas Centennial. She persuasively demonstrates that those performances have created a Texan identification that has develop into a model, a commodity that may be bought to the general public or even manipulated for political reasons.
Read or Download Branding Texas: Performing Culture in the Lone Star State PDF
Best state & local books
Citadel worthy: A Frontier Triumph.
The Boston Athenæum performed an important position in founding the Museum of excellent Arts, Boston, a undeniable fact that isn't really widely recognized. This booklet info this significant dating, from its inception throughout the museum’s early years while the Athenæum’s persevered aid ensured the younger institution’s survival. This historical partnership was once amazing in its depth, intimacy, and informality, but its information have by no means been absolutely documented.
VERMONT’S HAUNTSTall stories & actual from the fairway MountainsWho used to be Vermont’s first Ghostbuster? was once a full-blown exorcism played at a neighborhood university? What secret did a Vermont medical professional become aware of at the Moon? Do unknown populations reside hidden within the eco-friendly Mountains? What are Vermont’s such a lot shameful secrets and techniques?
- Ham, eggs, and corn cake: a Nebraska Territory diary
- The Murder of Little Mary Phagan
- Hard Times: The Adult Musical in 1970s New York City
- A History of Education in Kentucky (Topics in Kentucky History)
- Beer and Revolution: The German Anarchist Movement in New York City, 1880-1914
Additional info for Branding Texas: Performing Culture in the Lone Star State
This mise-en-scène is but a fraction of the state’s eternal natural beauty, as evidenced by Calvin’s speech in Act I: “You can look around you here and you can read the record of a lot of the earth’s age—in these walls—a record of death and life that has happened here, Elsie, hundreds of millions of years of it. ” The cliﬀ face and the lands behind the stage serve a tactical function by allowing the play to interact with the Texas landscape throughout the performance and also allow the “Texans” in the play as well as the audience to position themselves within the eternity of the state by ordering the wild, natural space of the canyon into the place of performance—the town of Henrianna, Texas, and, more generally, the State of Texas itself.
Movie clips from Pres. Franklin D. Roosevelt’s speech at the Cotton Bowl to open the 1936 Centennial Exposition lay claim to the same architectural space as Juan Seguín’s ﬁctionalized video narrative of the fall of the Alamo (the viewing room is located inside the second-ﬂoor Alamo façade) and a projected display/narrative of Stephen F. Austin’s imprisonment in Mexico City in 1834 that is based on his letters. The history constructed through the ethnographic objects moves up from the American Indians and Spanish conquistadores of the ﬁrst ﬂoor to the Texas Revolution and Civil War on the second and NASA and scenes from Giant on the third.
The concepts of liberty, heroism, and sacriﬁce are foregrounded in the text of the monuments, as these are the same ideals for which the Alamo battle is remembered. The smaller monuments draw from this association a sense of legitimation, an element of prestige, and some extra remembrance of their placement within the larger narrative. One of the most fascinating shifts in the display’s representation of the Alamo, however, concerns the sanctiﬁcation of the Alamo after the Texas Revolution. Judging by the information given within the architectural site, the most important thing Texans need to remember about the Alamo after 1845 (when Texas became part of the United States) is its salvation from destruction and transformation into a shrine by the DRT.