United Kingdom

For the privileged minority, however, leisure defined a good deal of their existence, the model of aristocratic “society” being redeployed in the early 19th century. Even in the 18th century the “middling sort” well-to-do of the towns, the urban gentry, had adopted the assembly room (where the elite had gathered to dance and socialize), the theatre, and the promenade as a means of regulating and enjoying urban life. This growth of a provincial urban culture had a serious side too, in the literary and philosophical societies of the late 18th century. In the first three decades of the new century this more serious aspect became increasingly apparent through the impact of the growth of Evangelical religion and of political events both at home and in Europe, so that there was a shift from the older sociability of propertied urban culture to a new emphasis on the deployment of leisure and culture as means of negotiating social and political difficulties, especially in the new and growing towns and cities.

The idea of “recreation” began to emerge; that is, that nonwork time should be a time of re-creating the body and mind for the chief purpose of work. The idea grew too that this recreation should be “rational.” The characteristic institutions of these new initiatives were the Mechanics Institutes for labourers and the Atheneaums for the sons—though not the daughters—of the more wealthy. Beyond these institutions there was the remarkable growth of those concerned with bringing culture to propertied urbanites, notably art galleries. However, it was not until mid-century that such initiatives began to develop rapidly, as in Manchester in the 1850s, where the Halle Orchestra was established on a professional basis and its concerts opened to anyone who could pay admission, unlike earlier, purely subscription-based music organizations. In the same decade, Owens College, the forerunner of the University of Manchester, was founded. The development of these institutions marked the emergence a more self-consciously public middle-class culture, one remodelled around a more open and inclusive notion of what public life involved.

In terms of popular culture, a more regularized and less demanding working day and week became part of a new kind of working year, so that old calendrical observances and rituals were lost. At the same time, a number were retained, being transformed to serve new purposes in the changed circumstances of increasing urbanization and industrialization. For instance, the old, established local “feast” and “wake” days of the industrial districts in the north of England were retained, serving many of the old communal functions yet also changing character and obtaining new functions in light of the spread of the railway and the advent of the modern vacation. Communal identities might now be formed by leaving the towns en masse, either for the railway excursion or on holiday, when large sections of the workers from particular towns took their leisure together at the new seaside resorts such as Blackpool. In urban Britain, restrictions upon space as well as upon time shaped the new culture, with old places of congregation, such as common lands on which fairs had been held, now being built over as towns grew. In the process, leisure often moved indoors, becoming more regular and more commercial in its organization. Commercial pressures in fact were most responsible for reshaping what had at least from the late 18th century been identified as popular culture, as opposed to forms of high culture. (Institutions such as the new urban concert halls of the mid-19th century were important in fostering a notion of the sublime and sacral nature of classical music, in contrast to the “low” music of the other sort of urban concert hall, namely the music hall.)