Breton Folk Music, Breton Identity, and Alan Stivell's Again

Winick, Stephen D.

doi:10.2307/541889

Cited by 4 publications

(4 citation statements)

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“…30-1, his emphasis) Despite long-term patterns of emigration from Wales to North America, Australia and Patagonia, as well as to other parts of the British Isles, Welsh-language popular music has emerged in contrast as a resistance music, drawing at times on elements of the diasporic cultures as it has mobilised and energised cultural and linguistic identities at home, in a small society faced with intensifying pressures towards political and social hegemony. 1 The Welsh experience finds its closest European parallels in those of other small, stateless nations such as the Catalans, Bretons and Basques, as described by Van Leuw (1993), Winnick (1996) and Lahusen (1993), respectively.…”

Section: Popular Music and Identities From The 1960s To The 1980smentioning

confidence: 98%

Popular music in the Welsh language and the affirmation of youth identities

Llewellyn¹

2000

Pop. Mus.

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In this paper I attempt first to identify some of the ways in which the growth of Welsh-language popular music and of more assertive and confident ideas of identity among young Welsh speakers were closely linked in the period 1960–85. Secondly, I briefly examine some elements of a period of diversification and crisis that occurred in the 1990s, and finally I attempt to identify three positions from which different musicians and audiences that I have been involved with seem to be currently rehearsing, negotiating and constructing contrasting roles and stances.

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Section: Popular Music and Identities From The 1960s To The 1980smentioning

confidence: 98%

Popular music in the Welsh language and the affirmation of youth identities

Llewellyn¹

2000

Pop. Mus.

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“… Only local dances No stars, no name on the bill Only local publicity Free admission (but drinks for sale) Only unaccompanied singing and pipe and drums music (Winick 1995) …”

Section: Staging the Songsmentioning

confidence: 99%

“…Stivell has rehearsed the argument that there are characteristic musical features which allow one to identify certain musical forms as Celtic, and therefore to see it as representative of this region (Winick 1995). However, it is difficult to accept such formalism.…”

Section: In Search Of Bretonnitudementioning

confidence: 99%

Roots, rock, Breizh: music and the politics of nationhood in contemporary Brittany*

Gemie

2005

Nations Nationalism

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Abstract. The three terms Roots, Rock and Breizh (or ‘Brittany’) seem to make unlikely companions: their meeting looks more like a collision than a confluence. However, these disparate forces have fashioned a unique cultural dynamic in Brittany. This paper analyses this cultural‐nationalist movement. It considers its socio‐cultural context, presents some case studies of particular singers and festivals, and evaluates the movement's significance.

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“…Marchand's music is significant for the way it helped to popularise a language that was, until the 1970s, seen by many of its speakers to be a stigmatising sign of poverty and backwardness (Winick 1995;Jones 1998;Le Coadic 1998;Gemie 2005). Marchand, along with other musicians, writers and artists, was instrumental in launching a broad cultural and linguistic revival movement that continues to this day.…”

Section: Transcultural Language Activism In Francementioning

confidence: 99%

Rethinking diversity and difference in French language practices

Nevez¹

2008

Lang Policy

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This paper contributes to a debate on linguistic identity and social participation in France by providing a critical reading of language policy and practice. It challenges the notion that France is a linguistically homogenous nation where a standardised French language is universally practiced and, rather, seeks to reframe linguistic diversity and heterogeneity as fundamental and legitimate constitutive features of French society. In exploring diversity from this critical perspective, the paper looks to the ways in which a number of artists and language activists are deliberately and consciously transgressing normative notions of French to affirm the legitimacy of their alterity and difference. The paper does not make an argument against the legitimacy or social value of standard French, but rather argues in favour of a more critical and inclusive approach to cultural and linguistic difference in France.

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Breton Folk Music, Breton Identity, and Alan Stivell's Again

Cited by 4 publications

References 0 publications

Popular music in the Welsh language and the affirmation of youth identities

Popular music in the Welsh language and the affirmation of youth identities

Roots, rock, Breizh: music and the politics of nationhood in contemporary Brittany*

Rethinking diversity and difference in French language practices

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