Introduction: Locating Celtic Music (and Song)

Porter, James

doi:10.2307/1500260

Cited by 7 publications

(9 citation statements)

References 15 publications

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“…As James Porter in Locating Celtic Music points out, one may now 'smile at the antique rhetoric of nineteenth-century Celtic enthusiasts, a rhetoric that linked Ossian and St. Patrick to King Arthur and a host of otherworldly characters who inhabit a magical, heroic past. ' 14 A link to important aspects of the past seems to be a core feature of most dance stories in this investigation.…”

Section: Ideological Placing Of Dances In Storied Narrativesmentioning

confidence: 81%

A story to every dance: the role of lore in enhancing the Scottish solo dance tradition

Melin¹

2018

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Digital downloads need Adobe Acrobat Reader to display all images in this book properly when viewed on Mac/PC and on Ipad/tablets. _______________________________________________________________________ ii _______________________________________________________________________ of the future out of the past. If tradition is a people's creation out of their own past, its character is not stasis but continuity. ' 1 Lorg is about continuity. The aim is to share archived materials or notations of dancing, so they can live again, and in the process, allow readers to offer their own interpretations of the materials. Bring the footsteps of the past into the present by seeking new ways of interpreting them! Keep the act of 'dancing' alive! Mats Melin

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Section: Ideological Placing Of Dances In Storied Narrativesmentioning

confidence: 81%

A story to every dance: the role of lore in enhancing the Scottish solo dance tradition

Melin¹

2018

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“…Independente da dificuldade em se classificar uma música Celta, pode-se falar em uma identidade Celta, mobilizada por músicos e consumidores desta música como fonte para identidade étnica (PORTER, 1998). Para além deste sentido identitário, a música celta tornou-se um produto de massa nas últimas décadas, o que extrapola o caráter étnico do "interceltismo".…”

Section: Psytrance: Música Eletrônica Ritual E Alucinógenosunclassified

Alteridade, Espiritualidade E Exotismo: Da Música Celta Ao Psytrance

Cordovil

2020

FRAG

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Esta pesquisa tem como objetivo propor uma análise das interseções entre música, alteridade e espiritualidade, a partir de uma comparação entre dois estilos musicais, a música Celta e o Psytrance. Ambos surgem da valorização e do aumento de interesse em culturas e práticas ligadas à natureza e a um imaginário do primitivo enquanto puro. O consumo de música ligada a este imaginário está associado a um estilo de vida naturalista, esotérico e místico, construído a partir de referências na contracultura. Para os consumidores destes estilos, as práticas e vivências comunais associadas à música adquirem um significado ritual.

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“…If instrumentation, is it the bagpipes, tin whistles, and fiddles, or the strumming guitars, electric pianos, and synthesizer washes that increasingly fill in its textures? The recognition of "Celtic music" appears to vary depending on its context: in the United States it is more often associated with Irish music, in Canada with Scottish, and so on (Porter 1998;Thornton 1998Thornton , 2000Sparling 2003;Chapman 1994;Hale and Thornton 2000). In the context of the music of Britain, Malcolm Chapman writes, the "Celts" "simply form the largest regiment in the phantom army of 'folk' who are the notional makers of 'folk-music'" (1994: 42).…”

Section: The Celtic Colours International Festivalmentioning

confidence: 99%

“…On this point, Galicians' and neighbouring Asturians' claims to "Celticity" have themselves been contested by those who demand a strict linguistic criterion for their "Celticity"; such a linguistic tradition died out several centuries ago in those Spanish provinces, and today's Galician (Galego) is a Romance language closely related to Portuguese. Yet, local activists have lobbied for their recognition as "Lands of Celtic Heritage" on the basis that the ancient Celtic tribe of Gallaeci or Callaeci, referred to by Herodotus, resided here and that Galicians today feel themselves to be as Celtic as anyone else (Robb 2003: 238;Porter 1998: n.9; A Mamoa de Dumbria 1999).…”

Section: The Celtic Colours International Festivalmentioning

confidence: 99%

Colouring Cape Breton “Celtic”

Ivakhiv

2007

ethno

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This article rethinks the relationship between cultural identity and landscape by way of a post-constructivist, “multicultural political ecological” examination of Cape Breton Island’s Celtic Colours International Festival. The author reads the festival as an intervention on several levels: as part of a set of contests and contrasts by which Cape Bretoners articulate their identities and heritages; as a medium by which Celticity is defined and shaped as a transnational cultural discourse; as one arm of a strategy by which island entrepreneurs are repositioning Cape Breton as central within global tourist flows; and as a means by which a relatively cold northern landscape is made attractive through a discursive linkage with the pleasing imagery of autumn foliage in scenic mountain and highland topography. In the process, what was once the most industrialized region of the Atlantic Provinces can now boast an expressive harmony between “nature” and “culture”.

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Introduction: Locating Celtic Music (and Song)

Cited by 7 publications

References 15 publications

A story to every dance: the role of lore in enhancing the Scottish solo dance tradition

A story to every dance: the role of lore in enhancing the Scottish solo dance tradition

Alteridade, Espiritualidade E Exotismo: Da Música Celta Ao Psytrance

Colouring Cape Breton “Celtic”

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