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

Llewellyn, Meic

doi:10.1017/s0261143000000192

Cited by 4 publications

(2 citation statements)

References 3 publications

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“…If we accept Llewellyn's (2000) contention that Welsh-language hip-hop music can be understood according to the principles of strategic anti-essentialism as described by Lipsitz, this allows us to apprehend that music as an attempt to critique Welshness as understood by the Welsh themselves by stepping outside that culture's previously accepted musical boundaries.…”

Section: Resultsmentioning

confidence: 99%

Mapping live provisions in Welsh-language rock, 1978–80

Jones

2013

POMH

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The article entails an analysis of the Welsh-language live popular music scene in the late 1970s. Composed of amateurs motivated by a desire to promulgate the Welsh language within the linguistic domain of youth popular music culture, Welsh-language popular music of this period was overwhelmingly dominated by rock artists such as Geraint Jarman, Eliffant, and Y Trwynau Coch (The Red Noses), whose pioneering national tours of Wales (1978, 1979, 1980) emulated those of Y Blew (The Hair) ten years earlier, and popularized the notion of touring, as opposed to gigging at weekends, for their contemporaries. Utilizing geospatial analysis techniques, the article examines live opportunities for bands in the period immediately preceding the late 1970s, and advances possible explanations for the observed development of provisions for Welshlanguage youth entertainment.

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Section: Resultsmentioning

confidence: 99%

Mapping live provisions in Welsh-language rock, 1978–80

Jones

2013

POMH

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“…This ethos can be found in English-language Welsh ensembles, such as Dub War and Skindred, who mix heavy rock with ragga and reggae influences, 46 as well as Welsh-language hip hop acts such as Tystion. As noted by Llewellyn (2000), it is significant how Welsh-language music in particular has drawn influences from other politicized cultural forms like reggae, protest folk and punk, and it is ironic that music intended to portray independence simultaneously depicts a discourse of unity. This is congruent to the view that Lipsitz (1994) ing that new identities and identifications are forged in the modern world due to a newly emerging interdependence of people, something that will be explored further in the final section of this article.…”

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confidence: 99%

National identity versus commerce

Carr¹

2012

POMH

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This article investigates the sometimes opposing political, commercial and nationalistic pressures on Welsh musicians to sustain a living. Furthermore, it considers how these factors can potentially affect their Welsh identity, a term which was identified by Sarah Hill (2007) as being inherently problematic. After documenting a brief contextualization of the history of Welsh popular music and its dialogic relationship with the construction and portrayal of identity, the article outlines how opportunities and threats are impacted by this construction. It argues that both the government and the music industry need to negotiate the grey area between economics and cultural authenticity, leaving musicians free to portray their 'Welshness' as they see fit. The necessity for a unified industry that facilitates musicians to exploit their intellectual property rights inside and outside of Wales is also emphasized as an important factor regarding the capacity of the Welsh music industry to propagate employment for its workforce.

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Re–Establishing Britishness/Englishness: Representation Through Music in a non–Parliamentary Nation

Burns¹

2016

Media Peripheries

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The absence of a contemporary English identity distinct from right wing political elements has reinforced negative and apathetic perceptions of English folk culture and tradition among populist media. Negative perceptions such as these have to some extent been countered by the emergence of a post-progressive rock-orientated English folk-protest style that has enabled new folk music fusions to establish themselves in a populist performance medium that attracts a new folk audience. In this way, English politicised folk music has facilitated an English cultural identity that is distinct from negative social and political connotations. A significant contemporary national identity for British folk music in general therefore can be found in contemporary English folk as it is presented in a homogenous mix of popular and world music styles, despite a struggle both for and against European identity as the United Kingdom debates 'Brexit', the current term for its possible departure from the EU.My mother was half English and I'm half English too I'm a great big bundle of culture tied up in the red, white and blue (Billy Bragg and the Blokes 2002). When the singer and songwriter, Billy Bragg wrote the above song, England, Half English, a friend asked him whether he was being ironic. He replied 'Do you know what, I'm not', a statement which shocked his friends. Bragg is a social commentator, political activist and staunch socialist who is proudly English and an outspoken anti-racist, which his opponents may see as arguably diametrically opposed combination. The theme of this article unpacks the sentiment expressed in these lyrics, which reflect the links between music, politics and their effects on how both are represented in contemporary media. Since Woody Guthrie's songs of the 1940s and 1950s to Bob Dylan's lyrical commentaries in the 1960s-the combination of folk or 'traditional' western popular

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

Cited by 4 publications

References 3 publications

Mapping live provisions in Welsh-language rock, 1978–80

Mapping live provisions in Welsh-language rock, 1978–80

National identity versus commerce

Re–Establishing Britishness/Englishness: Representation Through Music in a non–Parliamentary Nation

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