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- Convenors:
-
Daniel Maciel
(lnstitute for Research in Design, Media and Culture ID, Polytechnic lnstitute of Cávado and Ave, Barcelos, Portugal)
Maria Restivo (CRIA - UMinho)
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- Format:
- Panel
Short Abstract:
Are we witnessing a new “folk revival”? This panel problematizes the notion of a contemporary folk revival by interrogating the shifting definitions of the folk and the vernacular in an era of globalization, digitization, and identity politics.
Long Abstract:
In the last decade, there has been a significant renewed interest in folk traditions and aesthetics, often framed as a "folk revival" among artists and cultural agents who create, recreate, appropriate, and transform from a myriad vernacular practices. However, this resurgence raises critical questions about the nature and politics of what constitutes "folk" in the 21st century. Where some may sense a recrudescence of structured and strictly bound ideas of ethnocultural representation, others might trace the many ways in which personal and collective identity may be unwritten and reshaped.
This panel calls for contributions and case studies from various regions and mediums (including music, crafts, festivals, and heritage projects), seeking to explore how contemporary movements labelled as "folk" or “vernacular” may not be mere revivals of past traditions but, rather, complex reconfigurations of cultural heritage in the present. Additionally, we intend to examine how these movements negotiate authenticity, commodification, and ideals of community and identity in an age where folk practices are increasingly mediated through digital platforms and subject to market forces.
By tracing the intersections between the local and the global, the traditional and the modern, this panel seeks to rethink the categories of the folk and the vernacular, addressing how they function as sites of resistance, identity formation, and cultural appropriation. We invite a re-examination of what constitutes "folk" in the contemporary moment, to question whether we are witnessing a revival, or a transformation of vernacular culture in new and unexpected ways.
Accepted papers:
Session 1Paper Short Abstract:
Lithuania's National Register of Intangible Cultural Heritage began in 2017, with ten cultural practices from the ethnographic region of Lithuania Minor included between 2019 and 2023. This presentation analyzes how these once-closed traditions become part of the public, accessible cultural heritage and how this shift impacts their cultural meaning. It examines the transformation of traditions into heritage, the loss of local control, and the growing influence of cultural heritage authorities and external forces like tourism and festivals.
Paper Abstract:
Lithuania's National Register of Values of Intangible Cultural Heritage began operating in 2017. From 2019 to 2023, 10 cultural objects from the ethnographic region of Lithuania Minor (Western part of Lithuania) were included in the National Register of Values of ICH.
This presentation analyzes how the cultural practices of the ethnographic region of Lithuania Minor, which were once considered closed traditions, are now becoming part of the open and publicly accessible ICH. Drawing on Owe Ronström's concept of "tradition as a closed space" and "heritage as an open space", the presentation examines how including these traditions in the register of ICH alters their status and cultural meaning.
Contemporary folklore practices integrated into the heritage discourse are no longer exclusively preserved by ethnic communities. Instead, they are transformed into public cultural values that are accessible not only to local communities but also to tourists, festival visitors, and researchers.
This presentation addresses the ongoing transformation of traditions into heritage in Minor Lithuania, reflecting on the broader shift from exclusive community-controlled traditions to publicly accessible intangible cultural heritage. Exploring the impacts of ICH registration highlights how the institutionalization of cultural heritage shifts the power to define authenticity and control over traditions from local communities to cultural heritage authorities and funding bodies. The presentation will reflect on the consequences for local communities, especially their role in reconstructing and adapting traditions to meet the demands of festivals, tourism, and cultural promotion.
Paper Short Abstract:
In recent years, Portuguese contemporary visual arts have embraced the rural imaginary, exploring folk and vernacular elements. By examining artworks and artist insights, I explore how this "rural turn" expresses both romanticization and critical perspectives.
Paper Abstract:
Over the last two decades, the rural imaginary has gained significant traction in Portuguese contemporary visual arts. This “rural turn,” characterized by an increased engagement with the folk, the vernacular, and rural worlds, contrasts sharply with previous artistic trends. For much of the 1980s and 1990s, references to rural life were consciously avoided by artists who sought to distance themselves from the rural glorification perpetuated by the Estado Novo fascist regime.
However, in the work of a younger generation of Portuguese artists, the rural emerges as a central theme. Their works explore aspects of folk traditions, agricultural landscapes, and vernacular practices. This shift invites questions about the motivations behind this renewed interest: Is it a critique of urban-centric modernity? A reclamation of identity? Or perhaps an attempt to reconcile with family and local memories and heritages?
In this presentation, I will examine the ambiguities and ambivalences inherent in this rural turn. Drawing on the analysis of artworks and interviews with the artists themselves, I will argue that the engagement with rurality in contemporary Portuguese art is both nostalgic and an idyllic romanticization, but also potentially emancipatory. This duality reflects broader tensions in contemporary societies, where the rural imaginary is both a site of memory and a space for imagining alternative futures.
Paper Short Abstract:
In villages in the Brno agglomeration, we can currently observe the phenomenon of revitalization of traditional folk clothing. This issue raises questions about the transformation of its materials or functions, acceptance in local communities, and to what extent it functions as a sign of identity.
Paper Abstract:
Especially at the beginning of the 21st century, in villages in the Moravian agglomeration of Brno we encounter the revival of local traditional folk clothing. This is an area that was industrialised relatively early, which also led to the relatively early disappearance of this phenomenon - often in the middle of the 19th century. At the time of the Czech national revival, its functions were partly taken over by “national costumes”, which have survived in some localities to this day.
This paper will discuss the traditional folk dress in the western part of the agglomeration and the functions it fulfilled for its wearers or local communities. The reasons for its disappearance and its replacement by "national costumes" will be presented.
Particular attention will be paid to the current state of the costume, showing the main motivations leading to its renewal or continued wearing, transformation in of the functions towards the wearers and local communities. In this context, it will be addressed to what extent it serves as a means of expressing the identity of the wearers in social interactions that usually occur within local ethno-cultural traditions.
The strong influence of memory institutions on the resulting form of revitalised clothing will also be highlighted in relation to the current situation. Here the problems of the lack of traditional materials on the market and the influence of globalisation in transforming the material aspect of the phenomenon.
Paper Short Abstract:
This paper examines the recent revival of traditional music in Angola, driven by youth, artists, and cultural institutions, as part of a broader reconfiguration of cultural heritage. Drawing on fieldwork in Luanda’s folkloric music scene, it explores the complex interplay between state-driven patrimonialization efforts—aimed at economic diversification—and grassroots movements advocating for a more inclusive Angolan identity. This process critically challenges static notions of “folk,” highlighting the evolving, contested nature of heritage in the Global South.
Paper Abstract:
Since the outbreak of the COVID-19 pandemic, Angola has seen a surge in interest among youth, artists, and cultural institutions in promoting traditional musical instruments. This movement is part of a broader reconfiguration of cultural heritage, marked by renewed pride in indigenous languages and open discussions of ethnic identities, particularly in urban centers like Luanda. Far from a revival of past traditions, these developments signify a reimagining of Angolanness, where heritage becomes a site for negotiating identity, memory, and inclusion in the post-civil war era.
Drawing on fieldwork in Luanda’s musical folkloric scene, this paper explores how patrimonialization in Angola is shaped by the complex interplay of institutional and grassroots forces. The state uses cultural heritage to address economic diversification in the post-oil transition, envisioning cultural tourism as a panacea for economic crises. Meanwhile, the grassroots resurgence of traditional music and languages reflects a shift towards a more inclusive vision of Angolan identity as the urgency of nation-building and reconciliation wanes.
Through my case study, I contribute to the panel’s exploration of contemporary “folk” and “vernacular” movements by critically examining the notion of folklore and its postmodern and postcolonial reformulations in Angola, where the concept is deeply intertwined with its colonial past. By doing so, I broaden the panel’s scope, offering a perspective on folklore shaped by the legacies of empire and colonialism. I argue that these developments challenge static conceptions of “folk” as relics of the past, revealing the fluid and contested nature of heritage in the Global South.
Paper Short Abstract:
Greater Poland, a region in central-western Poland, is distinguished by its rich folk culture. Musical and dance traditions are cultivated by regional ensembles, elaborated folklore groups, and the Poznań Dance House. This paper analyzes their relations and the "revival" of folklore in this area.
Paper Abstract:
Greater Poland, a historical region in central-western Poland, is rich in folk culture, with diverse subregions expressing unique traditions. While musical and dance traditions were widely preserved before World War II, they began to decline in the postwar period in favor of popular music. Today, traditional music and dance are promoted by regional ensembles (villages), stylized folklore groups (cities), and organizations "in crudo" like Poznań Dance House (city). This paper examines the interactions among these three forms of traditional music expression and evaluates the "revival" of folklore in modern society. An important part of this study involves exploring the differences between the "in crudo" environment, which practices unstylized traditional music, and stylized folklore groups that present folklore in a theatrical, often adapted form. While these two approaches may seem similar to outsiders, they maintain distinct practices and forms of collaboration in preserving musical traditions. This research integrates these perspectives to analyze how they interact and how local governments and cultural institutions support folklore groups and associations. This study, based on doctoral research, seeks to network "in crudo" and stylized dance environments, emphasizing the need for dialogue and collaboration between these forms to cultivate and sustain Greater Poland’s rich cultural heritage.
Paper Short Abstract:
I question how the practice of translocal Irish music in the Netherlands negotiates authenticity and identity amongst the participating musical community. Could this movement, rather than being a revival of past traditions, be a complex reconfiguration of cultural heritage in the present?
Paper Abstract:
Music sessions, where musicians gather to play music informally together and give small-scale, intimate performances, are popular methods of disseminating folk music in the densely-populated province of Zuid-Holland in the Netherlands. However, the repertoire is often largely of Irish, rather than of Dutch folk music.
There has been great interest in Irish music in the Netherlands since the 1970s although its popularity has waxed and waned a few times. Many participants in present day Irish music sessions are very knowledgeable about music and travel frequently to Ireland to learn and to assimilate both the music and the culture. Some express distaste with their native Dutch folk music. This assimilation of ‘Irishness’ in translocal musicians, who identify closely with the music they play, suggests that the growing interest in Irish music in the Netherlands is not a folk revival per se, as the interest relates to a style that is not native to the Netherlands.
In this paper, I will question how the practice of translocal Irish music in the Netherlands negotiates authenticity and identity amongst the participating musical community. In the Netherlands, we are witnessing a transformation of cultural identity. I will explore how this contemporary movement, rather than being a revival of past traditions, is instead a complex reconfiguration of cultural heritage in the present. But whose cultural heritage and how is it written and shaped?
Paper Short Abstract:
In the village of Soajo, renown for its monumental landscapes of centennial granite buildings, an electronic music sunset party was organized as a form of symbolic distancing from usual reenactments of cultural heritage. This case study highlights aspects of identity-making and self-othering that often come from living in a heritage site.
Paper Abstract:
The Soajo mountains feature a scatterning of centennial granite buildings, which are a national reference for folk architecture. Prominently, a complex of granite granaries ordered in a communal threshing-floor, perched over a massive rock formation, overlooks the small village of Soajo. As one of many officially recognized monuments of Soajo heritage, the stone granaries are a part of a symbolic reenactment of soajeiro cultural identity. They are also a popular focus for tourism, connected to a broader reclaiming and revival of folklorist aesthetics.
The site was, additionally, the place for an electronic music party, a “Granary Sunset”, organized by soajeiro natives. Brought about by a desire to break from the formalities of Soajo folklore, enacted “for others to watch and learn”, the sunset party is described as a celebration “just for locals.” The gathering can be revisited through smartphone recordings, which register a fascinating trans-temporal hybridization of symbols and aesthetics.
Drawing from ongoing fieldwork in northwestern Portugal, as well as observations and testimonials from working with soajeiro natives, this presentation questions conventional attitudes towards heritage, identity, and tradition, by focusing on the Granary Sunset Party as a case-study in reconfiguring living with, and from, an inherited monumental past. I will discuss issues of identity and identification, as well as a lingering sense of “self-othering” that comes from enacting one’s own cultural identifiers.
Paper Short Abstract:
The past decade has seen notable changes in how Polish composers perceive, define, and approach folk music. Selected compositions including personal village music backgrounds, archival recordings, open forms, village music practitioners as performers will be examined to consider composers motivations, inspirations and goals.
Paper Abstract:
In response to the growing interest in peasant themes within public discourse, academic research, and artistic creation in Poland over the past decade, the term "folk turn" has been introduced. This concept does not merely highlight the subject of interest but emphasizes the perspective through which peasant heritage is examined. It entails addressing a significant gap in historical narratives, reframing entrenched images of rural culture, amplifying voices previously marginalized, incorporating personal experiences, and shifting towards oral history and microhistory while moving away from a global perspective to a local one. An expression of this "folk turn" is evident in a specific strand of musical creativity - a collection of compositions positioned at the borderlands of traditional village and contemporary composed (classical) music.
Since the 19th century, Polish composed music has consistently drawn on folk traditions in diverse ways and for various purposes, such as expressing patriotic ideals, fostering national unity, exemplifying the "voice of the people" under communist directives, or seeking universal elements within folk traditions. However, the past decade has seen notable changes in how composers perceive, define, and approach folk music. Contemporary creators focus on its previously overlooked parameters, utilize archival recordings, draw on personal experiences, adopt open forms, delegate performance to village music practitioners and center their attention on the music of specific microregions.
I will examine selected compositions exemplifying these trends, analyzing how their creators interpret the concept of "folk music", why they engage with folk traditions, and what they aim to achieve through these endeavors.
Paper Short Abstract:
What does community-based theatre tell us about people’s sense of themselves, the wider culture, and the place in which they live? This paper examines questions of local identity formation through the example of a historically inspired play performed – mostly in dialect - in rural Germany in 2024.
Paper Abstract:
Community-based theatre is a social practice often considered to contribute to a sense of belonging and sense of place among those who participate, whether as producers, actors or audience members. This holds true particularly for community-based theatre that (re)interprets local folklore, history, and cultural heritage.
This paper examines the performative materialisation of the past and its role in community-building in the present through a specific example of a performance which took place in rural Germany in August 2024. “Geschichten und Geschichtcher rund um den Königstuhl - Uns fällt kein Zacken aus der Krone” is a play specially written for the Milleniumsfest, a festival commemorating the 1000th anniversary of the election of a medieval German king. The play takes the oral tradition that Conrad II was elected in the vinyards above the village of Lörzweiler in 1024 as a starting point for commenting on the tensions between written history and oral tradition, as well as for exploring the cornerstones of local identity in an age of globalisation.
Drawing on ethnographic fieldwork, the paper explores how and what materials the writer and the actors draw on for performance. Focussing on how the play uses dialect as means of communication, a stylistic and formal device, and to mark social positions and relationships, and examining its reconfiguration of other forms of vernacular creativity and cultural heritage, notably the performance traditions associated with carnival as celebrated in Mainz, the paper illustrates how the play seeks to evoke a sense of local, cultural specificity.
Paper Short Abstract:
This paper discusses self-definitions in the Basque city of Vitoria-Gasteiz through the annual festival of the White Virgin. Neither an economic nor a cultural center, Vitoria-Gasteiz is a village-town that was made the capital of the Basque Autonomous Community, an incongruity that prompts it to redefine its identities amidst competing national visions.
Paper Abstract:
In Vitoria-Gasteiz, the capital of the Autonomous Community of the Basque Country in northern Spain, traditional festivals like the celebration of the White Virgin have been a cardinal component of constructing Vitorian identity and community. They are a source of stability, continuity, and local self-definition, especially in the complex political realities of a city constantly influenced by Basque regionalist and ethno-nationalist forces. However, even in a town nicknamed “the city where nothing happens”, festivals have been a site of profound challenges; for example, the rapid immigration processes of the 40s and 60s, episodes of terrorism by ETA, or the naming of the city as the capital of the Basque Autonomous Community. These changes have raised discussions concerning how Vitorian sentiments and identity should be presented or defined. In the case of the festival of the White Virgin, the local patron saint, the loss of religiosity and the development of popular and visual alternatives like the Celedón (a representation of the Basque peasant) have raised questions about the centrality and validity of previous traditions and symbols to represent the city. Examples of these tensions are the counter-processions in the 80s, the attacks against the image of the Virgin in 1982 and 1984, or the debates between the centrality of the Celedón versus the White Virgin. Both symbols serve as platforms where Vitorian identity gets defined and contested between Basque nationalist, non-nationalist, apolitical, or traditionalist movements.