Crynodeb
LOST MUSICAL HISTORIES: CURATING AND DOCUMENTING LOCAL
POPULAR MUSIC MAKING IN THE UK
PAUL CARR
The title above is based on a ‘special edition’ of the journal Popular Music History, I am just about to have published. Featuring ‘lost histories’ of UK music making, its initial impetus began when after moving to the Valley’s town of Merthyr Tydfil in South Wales, I realized there were stories about the “lost popular music scenes of the past” emerging from the community. The reason for this deficiency of material in towns such as Merthyr are complex, ranging from lack of targeted finance; the priorities of museums; the capacities of local communities to ‘self-curate’; to local histories simply been considered unimportant to “official” curators, publishers and writers. Issues of “selected histories” and “institutional power” are highlighted in the work of academics such as Leonard and Knifton (2015), Baker (2015, 2018), Brocken (2010) and Lipsitz (2007), with Bennett pointing out how popular music cultures were not traditionally regarded as heritage in the first place. This presentation will outline some of the pervasive themes of my edited collection, discussing why political power has a tendency to ignore some histories and celebrate others, and the impacts that local histories can have on communities’ identities.
POPULAR MUSIC MAKING IN THE UK
PAUL CARR
The title above is based on a ‘special edition’ of the journal Popular Music History, I am just about to have published. Featuring ‘lost histories’ of UK music making, its initial impetus began when after moving to the Valley’s town of Merthyr Tydfil in South Wales, I realized there were stories about the “lost popular music scenes of the past” emerging from the community. The reason for this deficiency of material in towns such as Merthyr are complex, ranging from lack of targeted finance; the priorities of museums; the capacities of local communities to ‘self-curate’; to local histories simply been considered unimportant to “official” curators, publishers and writers. Issues of “selected histories” and “institutional power” are highlighted in the work of academics such as Leonard and Knifton (2015), Baker (2015, 2018), Brocken (2010) and Lipsitz (2007), with Bennett pointing out how popular music cultures were not traditionally regarded as heritage in the first place. This presentation will outline some of the pervasive themes of my edited collection, discussing why political power has a tendency to ignore some histories and celebrate others, and the impacts that local histories can have on communities’ identities.
| Iaith wreiddiol | Saesneg |
|---|---|
| Statws | Cyhoeddwyd - 21 Chwef 2020 |
| Digwyddiad | Irish National Committee of the International Council for Traditional Music - 15th Annual Conference - University College Cork, Cork, Iwerddon Hyd: 21 Chwef 2020 → 22 Chwef 2020 Rhif y gynhadledd: 15th |
Cynhadledd
| Cynhadledd | Irish National Committee of the International Council for Traditional Music - 15th Annual Conference |
|---|---|
| Teitl cryno | ICTM 2020 |
| Gwlad/Tiriogaeth | Iwerddon |
| Dinas | Cork |
| Cyfnod | 21/02/20 → 22/02/20 |