"Nachsehen, was mit der alten Linde war..." Zum Umgang mit dem Volkslied in der Folkbewegung der sechziger und siebziger Jahre

Nate, Richard

doi:10.2307/848629

Cited by 1 publication

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“…This folksy genre often overlapped with Schlager , the popular commercial German songs containing superficial lyrics set to basic beats and sing-along melodies. As a result, the early folksong revivalists of the 1960s found the cultural sphere of Volkslieder to be ‘okkupiert’ – by Nazis in the past and by such TV programmes in the present (Nate 1994, p. 86) 5 to the extent that most democratically minded Germans completely shunned their own folksong tradition. Franz Josef Degenhardt (1968) famously sang ‘wo sind die Lieder/unsere alten Lieder’ (where are the songs/our old songs?).…”

Section: The Shifting Ideologies Of Folk Revivalsmentioning

confidence: 99%

“…Despite such ideological interpretations of folk songs from certain quarters, not all participants of the West German scene were of the same mind-set. Richard Nate (1994, p. 89) states that for many fans the identification with the folk song tradition was more emotional than ideological 20 . As Eckard Holler, co-manager of the Club Voltaire in Tübingen and co-organiser of the Tübingen Festival from 1975 until 1992, remembers, most were not interested in the ideological ‘factional battles’ which often took place behind the scenes.…”

Section: Channels Of Transmission In the New Social Movementsmentioning

confidence: 99%

“… 20 In this respect Nate (1994) makes a comparison with the Wandervogel movement of the early twentieth century. …”

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confidence: 99%

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The mobilising of the German 1848 protest song tradition in the context of international twentieth-century folk revivals

Robb¹

2016

Pop. Mus.

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The rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more 'progressive' interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs -such as those of the 1848 Revolution -could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as 'Badisches Wiegenlied' (Baden Lullaby), 'Das Blutgericht' (The Blood Court) and 'Trotz alledem' (For all that) within the context of the West German folk movement and its counterpart in the GDR.

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Section: The Shifting Ideologies Of Folk Revivalsmentioning

confidence: 99%

Section: Channels Of Transmission In the New Social Movementsmentioning

confidence: 99%