Operations of Memory:

Gluck, Carol

doi:10.2307/j.ctv22jntwv.7

Cited by 33 publications

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“…For more on the two traditions within unionist political culture, see Todd 1987. challenges the linearity that is assumed in the mobilisation of memory. 'The Ballad of Billy McFadzean' allows us to address the active role songwriters and musicians take as 'memory activists' (Gluck 2007) in the process, but also how such agency is disrupted by the power of songs themselves. It is this intersubjective relationship between artists, spaces, and songs across time and space, as well its relative unpredictability and multimodality that allows these reverberations to be forces of expectation and possibility.…”

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confidence: 99%

From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence

Millar

Chatzipanagiotidou

2021

Ethnomusicology Forum

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During the Northern Ireland conflict , paramilitary groups were supported and sustained by a sociocultural apparatus that helped legitimise their position within the community and disseminate their political message. From the use of flags and murals, to loyalist and republican parades, working-class vernacular culture revealed who was in control of various districts within the Province. For many working-class Protestants, loyalist songs were a key component of this culture, connecting the past and the present. Unlike the better-known marching band scene, which is a huge public spectacle, the loyalist song scene is much more private. Performed in a closed setting, within local bars and clubs, loyalist songs are reproduced for internal consumption rather than outward expression. Yet, in addition to celebrating a particular loyalist culture, such songs also serve an important function in authenticating and legitimising paramilitary groups, connecting them to older organisations, whose legacy they draw upon. This paper focuses on one such song, exploring how 'The Ballad of Billy McFadzean' is used to connect the Ulster Volunteer Force of the 1960s onwards, with the 1913 organisation of the same name. In so doing, the paper attempts to illustrate the political utility of song and how songs can be used to launder and legitimise conflict, as well as those engaged in political violence.

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Section: ***mentioning

confidence: 99%

From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence

Millar

Chatzipanagiotidou

2021

Ethnomusicology Forum

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Development and denial: Guatemalan post-genocide development narratives

Clouser

2020

Geoforum

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War, Guilt, and World Politics after World War II

Berger

2012

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When do states choose to adopt a penitent stance towards the past? When do they choose to offer apologies for historical misdeeds, offer compensation for their victims and incorporate the darker sides of history into their textbooks, public monuments and museums? When do they choose not to do so? And what are the political consequences of how states portray the past? This book pursues these questions by examining how governments in post-1945 Austria, Germany and Japan have wrestled with the difficult legacy of the Second World War and the impact of their policies on regional politics in Europe and Asia. The book argues that states can reconcile over historical issues, but to do so requires greater political will and imposes greater costs than is commonly realized. At the same time, in an increasingly interdependent world, failure to do so can have a profoundly disruptive effect on regional relations and feed dangerous geopolitical tensions.

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Operations of Memory:

Cited by 33 publications

References 0 publications

From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence

From Belfast to the Somme (and back again): loyalist paramilitaries, political song, and reverberations of violence

Development and denial: Guatemalan post-genocide development narratives

War, Guilt, and World Politics after World War II

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