Abstract
LOST MUSICAL HISTORIES: CURATING AND DOCUMENTING LOCAL
The title above is based on a ‘special edition’ of the journal Popular Music History I had just had published 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.
The title above is based on a ‘special edition’ of the journal Popular Music History I had just had published 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.
| Original language | English |
|---|---|
| Title of host publication | 2021 International Association of Popular Music US Branch Conference |
| Publication status | Published - 18 May 2021 |