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Journal articles on the topic 'Folk revival'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

Cohen, Norm. "The Folk Revival: Revisited, Revived, and Revised." Journal of American Folklore 103, no. 410 (1990): 514. http://dx.doi.org/10.2307/541611.

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2

Nahachewsky, Andriy. "Folk Dance Revival Strategies." Ethnologies 30, no. 1 (2008): 41–57. http://dx.doi.org/10.7202/018834ar.

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Abstract Ethnochoreologists are now more open to the study of folk dance revival groups, though they still lack common terminology or conceptual frameworks. Based upon the motivations and priorities of their participants, dance groups can be identified as “Enjoyers,” “Preservers,” “Presenters,” “Creators,” or perhaps “All-stars.” Several examples show how each of these strategies may impact on the organizational structures, dance forms and other aspects of the groups’ activities. These conceptual categories are presented with the suggestion that they may be useful for researchers, government p

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3

Deswal, Neerja. "Indian Folk Theatre : History and Relevance of its Revival." Journal of National Development 31, no. 1 (2018): 173–78. http://dx.doi.org/10.29070/31/57450.

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4

Marino, Michael. "Folk City: New York and the Folk Music Revival." Popular Music and Society 41, no. 1 (2017): 93–94. http://dx.doi.org/10.1080/03007766.2018.1377918.

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5

Shapiro, Anne Dhu, and Ailie Munro. "The Folk Music Revival in Scotland." Notes 44, no. 4 (1988): 718. http://dx.doi.org/10.2307/941030.

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6

Truten, Jack, and Ailie Munro. "The Folk Music Revival in Scotland." Ethnomusicology 30, no. 2 (1986): 359. http://dx.doi.org/10.2307/852027.

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7

Buchan, David, and Ailie Munro. "The Folk Music Revival in Scotland." Jahrbuch für Volksliedforschung 31 (1986): 178. http://dx.doi.org/10.2307/848339.

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8

Adelt, Ulrich. "Folk City: New York and the American Folk Music Revival." Journal of American History 104, no. 1 (2017): 243–44. http://dx.doi.org/10.1093/jahist/jax104.

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9

Tischler, Barbara L., and Robert Cantwell. "When We Were Good: The Folk Revival." American Historical Review 102, no. 4 (1997): 1260. http://dx.doi.org/10.2307/2170804.

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10

Wigzell, Faith, and Laura J. Olson. "Performing Russia: Folk Revival and Russian Identity." Modern Language Review 102, no. 1 (2007): 299. http://dx.doi.org/10.2307/20467270.

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11

Rouhier-Willoughby, Jeanmarie, and Laura J. Olson. "Performing Russia: Folk Revival and Russian Identity." Slavic and East European Journal 49, no. 3 (2005): 529. http://dx.doi.org/10.2307/20058332.

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12

Bohlman, Philip V., and Robert Cantwell. "When We Were Good: The Folk Revival." American Music 16, no. 1 (1998): 91. http://dx.doi.org/10.2307/3052677.

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13

Feintuch, Burt, and Robert Cantwell. "When We Were Good: The Folk Revival." Western Folklore 55, no. 4 (1996): 335. http://dx.doi.org/10.2307/1500141.

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14

Fauteux, Brian. "Understanding Media through the American Folk Revival." TOPIA: Canadian Journal of Cultural Studies 43 (September 1, 2021): 178–82. http://dx.doi.org/10.3138/topia-43-br03.

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15

Przybysz, Jane, and Robert Cantwell. "When We Were Good: The Folk Revival." Journal of Southern History 64, no. 2 (1998): 398. http://dx.doi.org/10.2307/2588001.

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16

Quist, Ned. "The British Folk Revival, 1944-2002 (review)." Notes 61, no. 3 (2005): 734–37. http://dx.doi.org/10.1353/not.2005.0029.

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17

Cohen, Norm. "The Folk Revival Reissued: The Vanguard Label." Journal of American Folklore 102, no. 404 (1989): 195. http://dx.doi.org/10.2307/540683.

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18

Sacks, Howard L., and Robert Cantwell. "When We Were Good: The Folk Revival." Journal of American Folklore 110, no. 435 (1997): 103. http://dx.doi.org/10.2307/541598.

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19

Rosenthal, Rob, and Robert Cantwell. "When We Were Good: The Folk Revival." Contemporary Sociology 26, no. 3 (1997): 381. http://dx.doi.org/10.2307/2654065.

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20

Lieberman, Robbie, and Robert Cantwell. "When We Were Good: The Folk Revival." Journal of American History 83, no. 4 (1997): 1490. http://dx.doi.org/10.2307/2953052.

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21

MITCHELL, GILLIAN A. M. "Visions of Diversity: Cultural Pluralism and the Nation in the Folk Music Revival Movement of the United States and Canada, 1958–65." Journal of American Studies 40, no. 3 (2006): 593–614. http://dx.doi.org/10.1017/s0021875806002143.

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This article focusses on the concept of cultural pluralism in the North American folk music revival of the 1960s. Building on the excellent work of earlier folk revival scholars, the article looks in greater depth at the “vision of diversity” promoted by the folk revival in North America – at the ways in which this vision was constructed, at the reasons for its maintenance and at its ultimate decline and on the consequences of this for anglophone Canadian and American musicians and enthusiasts alike.

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22

ALLEN, RAY. "In Pursuit of Authenticity: The New Lost City Ramblers and the Postwar Folk Music Revival." Journal of the Society for American Music 4, no. 3 (2010): 277–305. http://dx.doi.org/10.1017/s1752196310000155.

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AbstractThis article explores the discourse of authenticity, which has become central to our understanding of twentieth-century folk music revivals in the United States. The process of musical revival, that is, the self-conscious restoration of musical systems deemed in danger of decline or extinction, has been closely tied to perceptions of exactly what constitutes authentic, or genuine, folk tradition. The term tradition, like authenticity, is a slippery concept based on a self-conscious interpretation and selective editing of the past. The complex mechanism of cultural editing that undergir

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23

Prosterman, Leslie. "Folk Festivals Revisited." Practicing Anthropology 7, no. 1-2 (1985): 15–16. http://dx.doi.org/10.17730/praa.7.1-2.372671065k418u5m.

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Folk festivals should not be confused with the gatherings of folk revival musicians or the traditional indigenous celebrations of shared values. Folklorists and administrators create folk (or folklife) festivals in order to demonstrate and nuture folkways. These events represent attempts to demonstrate traditional culture to the public in formats other than scholarly articles. They generally include traditional music, crafts and food in a performance and/or workshop format, aiming for a down-home spirit between performers and patrons. We describe these festivals variously as created, contrived

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24

Bruford, Alan. "A. Munro, The folk music revival in Scotland." Northern Scotland 7 (First Series, no. 1 (1986): 92–93. http://dx.doi.org/10.3366/nor.1986.0021.

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25

Goertzen, Chris. "The Norwegian Folk Revival and the Gammeldans Controversy." Ethnomusicology 42, no. 1 (1998): 99. http://dx.doi.org/10.2307/852828.

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26

POPE, ROBERT. "Demythologising the Evan Roberts Revival, 1904–1905." Journal of Ecclesiastical History 57, no. 3 (2006): 515–34. http://dx.doi.org/10.1017/s0022046904001496.

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The Welsh religious revival of 1904–5 was a remarkable event which has evoked a number of contradictory responses. These were in some ways fuelled by the content of a folk memory which often appears to be divorced from the events of the revival itself. As a result, ambiguity has surrounded the revival and particularly the contribution of Evan Roberts, probably its most interesting and colourful leader. This article explores some aspects of that folk memory and seeks to ‘demythologise’ them by drawing on accounts of the revival meetings published by those who were involved at the time.

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27

Kratochvíl, Matěj. "“Our song!” Nationalism in folk music research and revival in socialist Czechoslovakia." Studia Musicologica 56, no. 4 (2015): 397–405. http://dx.doi.org/10.1556/6.2015.56.4.7.

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In the Czechoslovakia of the 1950s, traditional folk music was officially presented as the most important resource of national musical identity. Folk- or folk-inspired music was ubiquitous. Although this intensity had subsided in the following decades, the role of folk music as a symbol of national identity remained strong until the end of the communist rule in 1989. While the ideology of nationalism used folk music as its tool, it also influenced the way this music was collected, researched, and presented. The article presents examples from two closely related areas to document this phenomeno

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28

Andres, Alberto. "Ghosts of Britain: a hauntological approach to the 21st century folk horror revival." REDEN. Revista Española de Estudios Norteamericanos 3, no. 1 (2021): 79–93. http://dx.doi.org/10.37536/reden.2021.3.1428.

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This article aims at investigating the emergence of the American folk horror revival of the 2010s, focusing on texts such as Ari Aster’s Midsommar (2019) or Robert Eggers’s The VVitch (2015). This survey of the folk horror revival will inevitably lead us to the genre’s past, particularly to the so-called Unholy Trinity, comprised by three films released in Great Britain during the late 1960s and early 1970s. This temporal and geographical dislocation will be situated against a larger background of cultural production, arguing that the appearance of the folk horror revival sheds some light on t

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29

Feintuch, Burt. "Revivals on the Edge: Northumberland and Cape Breton—A Keynote." Yearbook for Traditional Music 38 (2006): 1–17. http://dx.doi.org/10.1017/s0740155800011632.

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In the mid-1980s, I began doing fieldwork in Northumberland, in the Northeast of England, interested in studying a regional musical revival. Research in Northumberland, a place that is comparatively small (although large for an English county), with a strong regional identity and a distinctive body of music, appealed to me as a way of thinking about musical revival and renewal, and I spent about a decade, on and off, doing fieldwork and historical research there. Then, nearly a decade later, I began fieldwork in Cape Breton, on the edge of North America, in eastern Canada, another regional wor

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30

Borovitskaya, Julia Vitalevna. "Revival of Folk Crafts as a Factor of Students’ Ethno-Cultural Competencies Formation in the System of Additional Education." Ethnic Culture, no. 1 (2) (March 20, 2020): 30–33. http://dx.doi.org/10.31483/r-74958.

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The article highlights the theoretical, methodological and practical aspects of students’ ethno-cultural competencies formation in the system of institutions of additional education in study clubs, trade shops as well as during creative master classes. The purpose of the study is to define the relevance and significance of folk crafts revival as a factor of students’ ethno-cultural competencies formation. The main works of Russian authors in the field of research of folk and art crafts are presented. Methods. A comparative analysis of the historical situation that reflects the content and impo

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31

Ling, Jan. "Folk Music Revival in Sweden: The Lilla Edet Fiddle Club." Yearbook for Traditional Music 18 (1986): 1. http://dx.doi.org/10.2307/768514.

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32

Ballard, Linda. "Folk Art and the Validity of Revival: a Contemporary Example." Folk Life 32, no. 1 (1993): 66–67. http://dx.doi.org/10.1179/flk.1993.32.1.66.

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33

Korstanje, Maximiliano E. "The imagined village: culture, ideology and the English folk revival." Journal of Policy Research in Tourism, Leisure and Events 5, no. 3 (2013): 305–7. http://dx.doi.org/10.1080/19407963.2013.798102.

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34

Ballard, Linda. "Folk Art and the Validity of Revival: a Contemporary Example." Folk Life - Journal of Ethnological Studies 32, no. 1 (1993): 66–67. http://dx.doi.org/10.1179/043087793798238570.

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35

Bradtke, Elaine, and Georgina Boyes. "The Imagined Village: Culture, Ideology and the English Folk Revival." Ethnomusicology 39, no. 3 (1995): 500. http://dx.doi.org/10.2307/924636.

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36

Shields, Hugh, and Georgina Boyes. "The Imagined Village. Culture, Ideology and the English Folk Revival." Jahrbuch für Volksliedforschung 39 (1994): 228. http://dx.doi.org/10.2307/848703.

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37

Davey, Merv. "The Celto-Cornish Movement and Folk Revival: Competing speech communities." Cornish Studies 20, no. 1 (2012): 108–30. http://dx.doi.org/10.1386/corn.20.1.108_1.

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38

Wells, Paul F. "Roots and Revival: Two Recorded Perspectives of American Folk Music." Musical Quarterly 78, no. 2 (1994): 246–54. http://dx.doi.org/10.1093/mq/78.2.246.

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39

Rosenberg, Neil V. "Kenneth S. Goldstein, Producer of Folk Revival and Country Recordings." Journal of American Folklore 109, no. 434 (1996): 457. http://dx.doi.org/10.2307/541189.

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40

STEWART, POLLY. "Urban Pioneers: The Folk-Music Revival in Utah, 1959-1966." Utah Historical Quarterly 74, no. 3 (2006): 220–30. http://dx.doi.org/10.2307/45062967.

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41

Francmanis, John. "National music to national redeemer: the consolidation of a ‘folk-song’ construct in Edwardian England." Popular Music 21, no. 1 (2002): 1–25. http://dx.doi.org/10.1017/s0261143002002015.

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The Musical Renaissance of the late Victorian era incurred both rediscovery and reappraisal of the English musical heritage. The isolated endeavours of a handful of pioneering collectors from the oral tradition stimulated the institution of a Folk-Song Society with the aim of gathering what remained of a rapidly disappearing national resource. This article examines competing interpretations of the nature and potential application of folk-song. Cecil Sharp, who quickly assumed leadership of the folk-song movement, adopted and refined the notion that communal origin and transmission imbued folk-

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42

MERCER-TAYLOR, PETER. "Bill Staines's Bridges and the Art of Meta-Folk." Journal of the Society for American Music 1, no. 4 (2007): 423–52. http://dx.doi.org/10.1017/s1752196307070411.

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AbstractFolksinger-songwriter Bill Staines came of age at the height of the mid-twentieth-century American folk music revival and has spent the years since then writing and playing music that seems impelled by the conviction that this vanished era's core stylistic premises and clear-eyed optimism remain as alive and available as they were at the revival's peak. Through this exploration of his 1984 album Bridges, I seek to show that Staines accomplishes this fantasy of the revival's continued vitality not, as his commentators frequently suggest, by clinging fast to decades-old stylistic practic

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43

Redhead, Steve, and John Street. "Have I the right? Legitimacy, authenticity and community in folk's politics." Popular Music 8, no. 2 (1989): 177–84. http://dx.doi.org/10.1017/s0261143000003366.

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In the last few years, in Britain, one of pop's cycles has turned again and folk has come back into fashion. It can be seen in the success of the Pogues, in the reformation of Fairport Convention, in the revamping of the magazine Folk Roots, in the content of Andy Kershaw's Radio One show, and perhaps most dramatically in the celebration of ‘world music’. The revival of folk entails more than a revival of old names and sounds, it also contains a redefinition of the idea of ‘folk’ itself. This shift takes its clearest form in Folk Roots where the editor, Ian Anderson, displays equal enthusiasm

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44

Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic

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45

Wigzell, Faith. "Performing Russia: Folk Revival and Russian Identity by Laura J. Olson." Modern Language Review 102, no. 1 (2007): 299–300. http://dx.doi.org/10.1353/mlr.2007.0253.

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46

Gregory, David, and Ronald D. Cohen. "Rainbow Quest: The Folk Music Revival and American Society, 1940-1970." Labour / Le Travail 52 (2003): 301. http://dx.doi.org/10.2307/25149413.

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47

Wicke, Peter, and Ronald D. Cohen. "Rainbow Quest. The Folk Music Revival & American Society, 1940-1970." Lied und populäre Kultur / Song and Popular Culture 47 (2002): 220. http://dx.doi.org/10.2307/3595199.

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48

Donnelly, Mark. "Postwar Politics, Society and the Folk Revival in England, 1945–65." Social History 45, no. 3 (2020): 397–98. http://dx.doi.org/10.1080/03071022.2020.1774193.

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49

Shortlidge, Jack. "Rainbow Quest: The Folk Music Revival and American Society, 1940-1970." Journal of American Folklore 119, no. 471 (2006): 129–30. http://dx.doi.org/10.2307/4137787.

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50

Adelstein, Rachel. "Folk City: New York and the American Folk Music Revival by Stephen Petrus and Ronald D. Cohen." Notes 73, no. 2 (2016): 271–73. http://dx.doi.org/10.1353/not.2016.0119.

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