- List of Contributors
- About the Companion Website
- An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change
- Traditional Music, Heritage Music
- An Expanded Theory for Revivals as Cosmopolitan Participatory Music Making
- Antiquarian Nostalgia and the Institutionalization of Early Music
- A Folklorist’s Exploration of the Revival Metaphor
- A Participant- Documentarian in the American Instrumental Folk Music Revival
- Reviving Korean Identity through Intangible Cultural Heritage
- Music Revival, <i>Ca Trù</i> Ontologies, and Intangible Cultural Heritage in Vietnam
- The Hungarian Dance House Movement and Revival of Transylvanian String Band Music
- National Purity and PostColonial Hybridity in India’s <i>Kathak</i> Dance Revival
- Choreographic Revival, Elite Nationalism, and Postcolonial Appropriation in Senegal
- Revived Musical Practices within Uzbekistan’s Evolving National Project
- Two Revivalist Moments in Iranian Classical Music
- Reclaiming Choctaw and Chickasaw Cultural Identity through Music Revival
- Revivalist Articulations of Traditional Music in War and Postwar Croatia
- Cultural Rescue and Musical Revival among the Nicaraguan Garifuna
- Toward a Methodology for Research into the Revival of Musical Life after War, Natural Disaster, Bans on All Music, or Neglect
- Innovation and Cultural Activism through the Reimagined Pasts of Finnish Music Revivals
- Revival Currents and Innovation on the Path from Protest Bossa to Tropicália
- Bending or Breaking the Native American Flute Tradition?
- Toward an Application of Globalization Paradigms to Modern Folk Music Revivals
- Contemporary English Folk Music and the Folk Industry
- Ivana Kupala (St. John’s Eve) Revivals as Metaphors of Sexual Morality, Fertility, and Contemporary Ukrainian Femininity
- Trailing Images and Culture Branding in Post-Renaissance Hawai‘i
- Grassroots Revitalization of North American and Western European Instrumental Music Traditions from Fiddlers Associations to Cyberspace
- Georgian Polyphony and its Journeys from National Revival to Global Heritage
- Irish Music Revivals Through Generations of Diaspora
- Reviving the Reluctant Art of Iranian Dance in Iran and in the American Diaspora
- Musical Remembrance, Exile, and the Remaking of South African Jazz (1960–1979)
Abstract and Keywords
This article has been commissioned as part of the forthcoming Oxford Handbook of Music Revival edited by Caroline Bithell and Juniper Hill. This chapter maps out central globalizing perspectives that have influenced discourses on revival and related transformational processes of traditional forms of musical expression. Focusing on the Latvian groups Skandinieki and Iļģi and on electric folk in England, the chapter analyzes the extent to which meta-perspectives can help elucidate the impact of global flows on music revivals. As Held et al.’s 2003 globalization study indicates, revival situations can be interpreted from different meta-perspectives. Equating globalization with homogenization, a sceptic perspective perceives revival as an important means of preservation. A hyperglobal approach regards globalization not as a threat, but as a possible access to Western market structures. A transformationalist perspective perceives increasingly dense global networks as the basis for developing new structures, approached from an open perspective. Although supporting a transformationalist perspective, this chapter argues that an adequate modern approach toward revival requires the combination of all three perspectives.
Britta Sweers is Professor of Cultural Anthropology of Music at the Institute of Musicology and Director of the Center for Cultural Studies at the University of Bern (Switzerland).
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