
Contents
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3.1 The idea of the ‘mainstream’ 3.1 The idea of the ‘mainstream’
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3.2 Acoustic pop: Seth Lakeman 3.2 Acoustic pop: Seth Lakeman
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3.3 Electric folk: Jim Moray 3.3 Electric folk: Jim Moray
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3.4 Folk-rock: the English ceilidh band 3.4 Folk-rock: the English ceilidh band
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3.5 Dance fusions: the Demon Barber Roadshow 3.5 Dance fusions: the Demon Barber Roadshow
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3.6 Historical popular culture(s) 3.6 Historical popular culture(s)
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3.7 Folk as ‘art’ 3.7 Folk as ‘art’
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3.7.1 Chris Wood and the English Acoustic Collective 3.7.1 Chris Wood and the English Acoustic Collective
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3.7.2 Classical folk music: Methera 3.7.2 Classical folk music: Methera
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3.7.3 Morris Offspring: On English Ground 3.7.3 Morris Offspring: On English Ground
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3.8 Conclusion 3.8 Conclusion
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Notes Notes
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3 The mainstreaming of English folk
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Published:April 2015
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Abstract
This chapter focuses on the creative outputs of the contemporary English folk resurgence, looking at folk artists’ growing engagements with the cultural mainstream and examining the wide variety of ways in which English folk music and dance is thus being represented, redeveloped and reinvented. After discussing the idea of the ‘mainstream’, the chapter goes on to analyse four case studies which exhibit different kinds of engagements of English folk with popular music or dance (Seth Lakeman; Jim Moray; the English ceilidh dance scene; and the Demon Barber Roadshow). It also examines the referencing of historical popular culture (e.g. Jim Moray; Bellowhead), and art-orientated folk music acts (e.g. Morris Offspring; English Acoustic Collective). The chapter concludes by arguing that the stylistic plurality illustrated by these examples is itself a semi-unifying theme of the contemporary English folk resurgence.
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