The British Folk Revival

Almost twenty years ago Mike Brocken created from his doctoral research what became both a seminal and also a contested volume concerning the social mores surrounding the British Folk Revival up to that point in time: The British Folk Revival 1944 - 2002.

Almost 20 years ago Michael Brocken created from his doctoral research, what became both a seminal and contested volume concerning the social mores surrounding the British Folk Revival up to that point in time: The British Folk Revival 1944-2002. In this long-overdue second edition he revisits not only his own research, but also that of others from the 1990s and early 21st century. He then considers how a discourse of folkloric authenticity emerged in the closing years of the 19th century and how a worrying nationalistic immanence came to surround folk music and dance during the inter-war years. Brocken also proposes that the media: records, radio and TV in post-WWII folk revivalism can offer us important insights into how self-directed learning of the folk guitar emerged.

Brocken moves on to consider the business structures of the contemporary folk scene and how relationships are formed between contemporary folk business and the digital and social media spheres. In his penultimate chapter he discusses the masculinisation of folk traditions and asks important questions about how our folk traditions are carried and are authorised. In the final chapter he also considers the rise of an exciting new folk live music built environment.

Autorentext

Michael Brocken is Senior Fellow of the Higher Education Academy. He is a freelance researcher, lecturer, writer and broadcaster and lives in Prestatyn, North Wales. Mike currently presents Folkscene on BBC Radio Merseyside: the longest running specialist music radio show in British broadcasting history.

Inhalt

1 The inherent morphology of folklore and folk song: a 'changing same'

2 A selective consideration of folk literature in relation to the first edition of The British Folk Revival

3 The aesthetics and practicalities of revivalism: a conservative-socialist-recorded sound 'revolution'?

4 Folk, blues and self-directed learning with the post-WWII Britain media

5 The business of folk

6 New folk media in the social sphere

7 Gendered folk mythologies

8 The folk built environment and the development of 'thirdspace'