Many thousands of historical pageants were held in twentieth-century Britain. These musical-dramatic re-enactments of history were especially popular in the interwar period, and in the 1930s Ralph Vaughan Williams collaborated with the novelist E. M. Forster to create two such pageants: The Abinger Pageant (1934) and England’s Pleasant Land (1938). Drawing on a range of published and archival sources, this chapter challenges readings of these and other pageants as expressions of a reactionary and conservative artistic (anti-) modernism. It sets them in the context of Vaughan Williams’s involvement with the Folk Revival, and his conception of folk culture as of vital relevance to contemporary society and its problems. It argues that these amateur performances of local history should be seen as realizations of Vaughan Williams’s ideals for a national culture which rested on the revival of local communities through art that was made by those selfsame communities. Vaughan Williams’s historical pageants were consistent with his left-leaning reading of English history, and with his belief in the radical potential of art – and specifically art that drew on an autochthonous vernacular musical tradition – to enrich human experience in the here and now, and on into the future.

This essay examines the role of blackface in white Irish culture, especially around the time of the emergence of independent Irish statehood in the first half of the twentieth century, as a critical context for contemporary practices and ideas of whiteness in Ireland. This examination takes three forms: the first is a speculative history (and it can be no more) of blackface minstrel theater in Ireland; the second is an analysis of representations of blackface acts in Irish modernism (specifically in works by James Joyce and Jack B. Yeats); and the final section offers a brief consideration of the longer and perhaps ultimately more troubling manifestations of blackface in Irish folk culture.

Using God’s Trombones (1927), James Weldon Johnson’s major collection of poetry from the New Negro Renaissance, this chapter outlines the author’s view of the tension between American popular culture and vernacular African American expressive forms, presenting his theory of poetic expression and linguistic transcription through call and response and the author’s close relationship to this work. Johnson viewed popular culture ambivalently, as a necessary yet potentially reductive force. In its greatest potential, it could form a people’s poetry, and in so doing create a distinctly racial art that was also national. God’s Trombones was therefore more than a simple linguistic project, it was an endeavor to draw upon “symbols from within” African American folk and vernacular forms, and also from within the nation’s regions, to advance a national African American culture.

Japanese society embraces a rich variety of cultural forms that reflect its tradition, stratification, and regional expanse. To examine the internal diversity of Japanese culture as thoroughly as possible, this chapter first looks at two manifestations of its duality and then analyzes mass culture, folk culture, and alternative culture as three major spheres of popular culture. After confirming its plurality, we turn at the end to the Japanese cultural presence in the transnational context.