This paper describes the Ulster-Scots Musical Revival which started in the late 1990s, and argues that neither Hobsbawm & Ranger’s conception of “invented tradition” nor Rosenberg’s theorisation of folk revivals as appropriations of tradition are adequate to understand this ongoing musical and social movement. By comparing the Ulster-Scots revival with earlier “Irish traditional music” revivals, I will argue that the Ulster-Scots movement is significantly different both from Irish revivals and from the American folk revivals theorised in Rosenberg’s volume, in that it is not the appropriation of a working-class music by a middle-class constituency, but a deliberate transformation of tradition undertaken by members of the originating communities.
|Number of pages||23|
|Publication status||Published - 20 Dec 2013|
- Northern Ireland
- cultural heritage
- collective identity