Concert parties - Revision history

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2019-01-17T03:57:59Z

19th Century

Satj: /* The concept of a "Concert Party" */

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The concept of a "Concert Party"

Satj: /* The concept of a "Concert Party" */

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The concept of a "Concert Party"

Satj at 04:37, 13 January 2019

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Satj: /* Concert parties in South Africa */

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Concert parties in South Africa

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=World war II

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19th Century

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19th Century

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 As noted above,  the basic notion of the form would dominate theatrical entertainment in the Cape Colony between 1863 and 1873, and the first such example mentioned by Bosman (1980, p. 187) consists of a series of three '''''[[Grand Concerts and Entertainments]]''''' put on in the [[Theatre Royal]], Cape Town, during March of 1863 by a visiting company largely made up of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects") and Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. They also performed in Stellenbosch, Wellington and Worcester. The events were not a great success and the company soon after disbanded, some of them (e.g. [[The Bowmers]] and [[The Finlaysons]] ([[Mr Finlayson]] and [[Mrs Finlayson]]) going it alone for a while.
-Other concerts and [[concert companies]] named by Bosman (1980, p. 243) in this context include performances by the [[Poussard-Bailey Company]], the [[D'Arcy-Read Company]] and the many [[Christy]]-style companies ('''see [[Minstrels]]''').
+Other concerts and [[concert companies]] named by Bosman (1980, p. 242-3) in this context include performances by the [[Poussard-Bailey Company]], the [[D'Arcy-Read Company]], the [[Miranda-Harper Company]],  and the many [[Christy]]-style companies ('''see the discussions under [[Minstrels]]''').
 ===World war II===

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 ==The concept of a "[[Concert Party]]"==
-According to [[F.C.L. Bosman]] (1980: pp. 185), the basic notion of what were sometimes referred to as [[concert parties]] (or '''[[concert companies]]''') seems to have emerged in the 1860s, during a rather subdued period of local theatrical entertainment, inspired by the growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town at the time. This occurred as part of the entertainment activities of the local garrison, as well as that of a number of professional and amateur companies, and more often than not the events were led by local music teachers. From this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
+According to [[F.C.L. Bosman]] (1980: pp. 185), the basic notion of what were sometimes referred to as [[concert parties]] (or '''[[concert companies]]''') seems to have emerged in the 1860s, during a rather subdued period of local theatrical entertainment, inspired by the growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town at the time. This occurred as part of the entertainment activities of the local garrison, as well as that of a number of professional and amateur companies, and more often than not the events were led by local music teachers. From this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced '''[[Christy's Minstrels]]''' format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
 In contrast, Wikipedia[https://en.wikipedia.org/wiki/Concert_party_(entertainment)], describes a '''[[concert party]]''' as the collective name for a '''group of entertainers''' popular in Britain during the first half of the 20th century, functioning as travelling shows of songs and comedy, often put on at the seaside and opening with a Pierrot[https://en.wikipedia.org/wiki/Pierrot#England_2] number. Thus perhaps something rather different from - and more specific than - the open notion entertained by the performers earlier in 19th century.

@@ Line 3: / Line 3: @@
 ==The concept of a "[[Concert Party]]"==
-According to [[F.C.L. Bosman]] (1980: pp. 185), the basic notion of what were sometimes referred to as [[concert parties]] (or [[concert companies]]) seems to have emerged in the 1860s, during a rather subdued period of local theatrical entertainment, inspired by the growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town at the time. This occurred as part of the entertainment activities of the local garrison, as well as that of a number of professional and amateur companies, and more often than not the events were led by local music teachers. From this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
+According to [[F.C.L. Bosman]] (1980: pp. 185), the basic notion of what were sometimes referred to as [[concert parties]] (or '''[[concert companies]]''') seems to have emerged in the 1860s, during a rather subdued period of local theatrical entertainment, inspired by the growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town at the time. This occurred as part of the entertainment activities of the local garrison, as well as that of a number of professional and amateur companies, and more often than not the events were led by local music teachers. From this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
 In contrast, Wikipedia[https://en.wikipedia.org/wiki/Concert_party_(entertainment)], describes a '''[[concert party]]''' as the collective name for a '''group of entertainers''' popular in Britain during the first half of the 20th century, functioning as travelling shows of songs and comedy, often put on at the seaside and opening with a Pierrot[https://en.wikipedia.org/wiki/Pierrot#England_2] number. Thus perhaps something rather different from - and more specific than - the open notion entertained by the performers earlier in 19th century.

@@ Line 1: / Line 1: @@
 ==The concept of a "[[Concert Party]]"==
-According to Wikipedia[https://en.wikipedia.org/wiki/Concert_party_(entertainment)], a '''[[concert party]]''' is the collective name for a '''group of entertainers''' popular in Britain during the first half of the 20th century, functioning as travelling shows of songs and comedy, often put on at the seaside and opening with a Pierrot[https://en.wikipedia.org/wiki/Pierrot#England_2] number.
+According to [[F.C.L. Bosman]] (1980: pp. 185), the basic notion of what were sometimes referred to as [[concert parties]] (or [[concert companies]]) seems to have emerged in the 1860s, during a rather subdued period of local theatrical entertainment, inspired by the growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town at the time. This occurred as part of the entertainment activities of the local garrison, as well as that of a number of professional and amateur companies, and more often than not the events were led by local music teachers. From this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
-The tradition lasted from the 1890s until the 1950s, and similar [[concert parties]] were formed by several countries' [[armed forces]] during the First and Second World Wars. For example, during the Second World War, the British Armed Forces' concert party became known as the Entertainments National Service Association (ENSA), later succeeded by the Combined Services Entertainment (CSE). In South Africa the tradition, initiated ''inter alia'' by the [[South African Women's Auxilliary Services]] , led to the formation of the [[Union Defence Force Entertainment Unit]] in 1940 under the leadership of Major [[Myles Bourke]].
+In contrast, Wikipedia[https://en.wikipedia.org/wiki/Concert_party_(entertainment)], describes a '''[[concert party]]''' as the collective name for a '''group of entertainers''' popular in Britain during the first half of the 20th century, functioning as travelling shows of songs and comedy, often put on at the seaside and opening with a Pierrot[https://en.wikipedia.org/wiki/Pierrot#England_2] number. Thus perhaps something rather different from - and more specific than - the open notion entertained by the performers earlier in 19th century.
 As other forms of entertainment (particularly [[television]]) replaced variety shows in general, concert parties largely died out during the 1950s.
@@ Line 13: / Line 16: @@
 ===19th Century===
-Contrary to the history outlined in [[Wikipedia]], the basic notion of a somewhat similar tradition of [[concert parties]] (or [[concert companies]]) seems to have emerged earlier, at least in the Cape province, according to [[F.C.L. Bosman]] (1980: p 185), who mentions a growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town in the mid 19th century, also as part of the entertainment activities of the local garrison. More often than not these were led by local music teachers and from this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
+As noted above,  the basic notion of the form would dominate theatrical entertainment in the Cape Colony between 1863 and 1873, and the first such example mentioned by Bosman (1980, p. 187) consists of a series of three '''''[[Grand Concerts and Entertainments]]''''' put on in the [[Theatre Royal]], Cape Town, during March of 1863 by a visiting company largely made up of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects") and Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. They also performed in Stellenbosch, Wellington and Worcester. The events were not a great success and the company soon after disbanded, some of them (e.g. [[The Bowmers]] and [[The Finlaysons]] ([[Mr Finlayson]] and [[Mrs Finlayson]]) going it alone for a while.
 Other concerts and [[concert companies]] named by Bosman (1980, p. 243) in this context include performances by the [[Poussard-Bailey Company]], the [[D'Arcy-Read Company]] and the many [[Christy]]-style companies ('''see [[Minstrels]]''').
@@ Line 23: / Line 24: @@
 During the early years of the World War II the [[South African Women's Auxilliary Services]] ([[SAWAS]])[http://ivormarkman.wixsite.com/photojournalism/south-african-womens-auxiliary-services] organised voluntary "[[concert parties]]" and other forms of entertainment at the various military camps in the Union. From this would come the idea of having a formally organised entertainment unit for the '''Union Defence Force (UDF)'''[https://en.wikipedia.org/wiki/Union_Defence_Force_(South_Africa)], which became known as the '''[[Union Defence Force Entertainment Unit]]'''.
-The Unit created a number of such [[concert parties]] during the war years, deploying them at home and abroad. Among them were the [[Springbok Frolics]], the [[Gypsies]], the [[Crazy Gang]], the
+The Unit created a number of such [[concert parties]], based on the British example, during the war years, deploying them at home and abroad. Among them were the [[Springbok Frolics]], the [[Gypsies]], the [[Crazy Gang]], the
 This activity and the many performers who had gained experience in the process, would have an enormous impact on the entertainment industry in South Africa after the war.

@@ Line 13: / Line 13: @@
 ===19th Century===
-Contrary to the history outlined in [[Wikipedia]], the basic notion of [[concert parties]] (or [[concert companies]]) seems to have emerged earlier, at least in the Cape province, according to [[F.C.L. Bosman]] (1980: p 185), who mentions a growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town in the mid 19th century, also as part of the entertainment activities of the local garrison. More often than not these were led by local music teachers and from this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
+Contrary to the history outlined in [[Wikipedia]], the basic notion of a somewhat similar tradition of [[concert parties]] (or [[concert companies]]) seems to have emerged earlier, at least in the Cape province, according to [[F.C.L. Bosman]] (1980: p 185), who mentions a growing prevalence of musical and choral societies and so-called "vocal and instrumental concerts" in Cape Town in the mid 19th century, also as part of the entertainment activities of the local garrison. More often than not these were led by local music teachers and from this  practice there gradually emerged the more ambitious practice of [[Literary and Musical Entertainments]], events which usually included oratoria and cantatas as well as the occasional dramatic work in their programmes. Thus a range of so-called [[concert parties]], both amateur and professional, would ultimately come into being, many of them a variation of the newly introduced [[Christy's Minstrels]] format of light entertainment - a form which would almost come to dominate theatrical entertainment in the region between 1863 and 1873.
 The first such example mentioned by Bosman consists of a series of three '''''[[Grand Concerts and Entertainments]]''''' put on in the [[Theatre Royal]], Cape Town, during March of 1863 by a visiting company largely made up of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects") and Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. They also performed in Stellenbosch, Wellington and Worcester. The events were not a great success and the company soon after disbanded, some of them (e.g. [[The Bowmers]] and [[The Finlaysons]] ([[Mr Finlayson]] and [[Mrs Finlayson]]) going it alone for a while.

@@ Line 17: / Line 17: @@
 The first such event mentioned by Bosman in this regard is a series of three '''''[[Grand Concerts and Entertainments]]''''' put on in the [[Theatre Royal]], Cape Town, during March of 1863 by a visiting company consisting largely of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects"), Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. The events were not a great success and the company soon after disbanded.
-Other [[concert companies]] named by Bosman (1980, p. 243) in this context are the [[Poussard-Bailey Company]], the [[D'Arcy-Read Company]] and the many [[Christy]]-style companies ('''see [[Minstrels]]''').
+Other concerts and [[concert companies]] named by Bosman (1980, p. 243) in this context include performances by the [[Poussard-Bailey Company]], the [[D'Arcy-Read Company]] and the many [[Christy]]-style companies ('''see [[Minstrels]]''').
 ===World war II==

@@ Line 17: / Line 17: @@
 Among the events mentioned by Bosman in this regard  are:
-: A series of three ''[[Grand Concerts and Entertainments]]'' put on in the [[Theatre Royal]], Cape Town, during March by a visiting company consisting largely of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects"), Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. The events were not a great success and the company soon after disbanded.
+: A series of three '''''[[Grand Concerts and Entertainments]]''''' put on in the [[Theatre Royal]], Cape Town, during March by a visiting company consisting largely of musicians and singers, including [[J.F. Finlayson]], [[Mr Bowmer]], [[Madame Bowmer]], [[Miss Whitfield]], [[Mr Horton]], [[Mr Schilling]]. The programme typically included selections from ''[[Il Trovatore]]'' ("with Scenery, Chorus and Effects"), Mr and Mrs Bowmer's "Dialogue Entertainment, in Two Parts" called ''[[Retaliation or Tit for Tat]]''. The third concert on 31 March had a similar piece by the Bowmers called ''[[The Widow's Strategem]]''. The events were not a great success and the company soon after disbanded.
 ===World war II==