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Irish Traditional Music and the Great Recession: Living and Working in the Irish Arts Sector after 2008

机译：爱尔兰传统音乐与大萧条：2008年后在爱尔兰艺术界的生活和工作

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摘要

Ireland's entry into an €85 billion bailout agreement with the tripartite entity known as the "Troika" (IMF-EC-ECB) in 2008 placed the Republic of Ireland under obligation to undergo a comprehensive economic adjustment program between 2010 and 2013. The reforms that followed from this period led the country on a characteristically neoliberal policy trajectory involving significant transformations in Ireland's national arts infrastructure. This dissertation draws upon eleven months of fieldwork in Ireland and over forty interviews in order to examine how the recession and subsequent adjustment program affected the livelihoods and working conditions of Irish traditional musicians.;As part of the resulting analysis, I explain how the process of structural adjustment led to severe cuts in the public subsidies available to traditional musicians and reoriented national policy further in line with art commodification. This involved a shift from a traditional European model of arts funding, in which the principal support modality is direct subsidy maximization, towards a more American arts funding model, emphasizing the need for artists to act entrepreneurially and to deepen engagement with the private market. The Great Recession also involved heightened attempts among policymakers to leverage traditional music and other Irish arts towards foreign investment and tourism revenue. These dynamics deepened the gap between core supports for traditional musicians and expenditure on cultural programming intended to market or "sell" Ireland abroad.;This dissertation synthesizes the above observations towards three general commentaries on neoliberal structural adjustment and its impact upon Irish musicians. First, I argue that Ireland's structural adjustment process exemplifies what Naomi Klein (2007) has called "disaster capitalism," a term she uses to describe the phenomenon in which economic crises are seized upon as opportunities to deepen neoliberal policy within various societies. Second, I argue that the expansion of neoliberal ideas into the domain of the Irish arts was principally facilitated by late 20th century ideas about the "creative economy," which augmented state interest in traditional music as a means to develop foreign investment throughout the recession. Lastly, I draw upon Karl Marx (1990 [1867]) and Marcel Mauss's (2002 [1925]) writings on value to show how Irish traditional musicians experienced structural adjustment in terms of a "devaluation" of Irish arts.
机译：爱尔兰于2008年与称为“三驾马车”（IMF-EC-ECB）的三方实体签署了850亿欧元的救助协议，使爱尔兰共和国有义务在2010年至2013年之间接受全面的经济调整计划。随后的时期引领该国走上了具有特色的新自由主义政策轨迹，涉及爱尔兰国家艺术基础设施的重大变革。本文利用爱尔兰的11个月的实地调查和40多次访谈，以考察经济衰退和随后的调整计划如何影响爱尔兰传统音乐家的生计和工作条件。作为结果分析的一部分，我解释了结构调整导致传统音乐家可获得的公共补贴大大减少，并进一步根据艺术商品化调整了国家政策。这涉及从传统的欧洲艺术资助模式转变为更美国的艺术资助模式，传统的欧洲艺术资助模式的主要支持方式是直接补贴最大化，强调艺术家需要企业家行为并加深与私人市场的互动。大萧条还涉及决策者加大力度，将传统音乐和其他爱尔兰艺术用于外国投资和旅游业收入。这些动态加深了对传统音乐家的核心支持与旨在向国外市场销售或“出售”爱尔兰的文化计划支出之间的差距。本文将上述观察总结为关于新自由主义结构调整及其对爱尔兰音乐家的影响的三个一般性评论。首先，我认为爱尔兰的结构调整过程可以证明内奥米·克莱因（Naomi Klein，2007）所说的“灾难资本主义”，她用这个术语来描述经济危机被抓住的现象，以此作为深化新自由主义政策的机会。其次，我认为，新自由主义思想向爱尔兰艺术领域的扩展主要是由20世纪末关于“创意经济”的思想所推动的，这种思想增强了国家对传统音乐的兴趣，以此作为在整个衰退期间发展外国投资的一种手段。最后，我借鉴卡尔·马克思（Karl Marx，1990 [1867]）和马塞尔·莫斯（Marcel Mauss，2002 [1925]）关于价值的著作，以说明爱尔兰传统音乐家如何根据爱尔兰艺术的“贬值”经历结构调整。

著录项

  • 作者

    Levine, Kevin Cory.;

  • 作者单位

    University of California, Los Angeles.;

  • 授予单位 University of California, Los Angeles.;
  • 学科 Music.;Cultural anthropology.
  • 学位 Ph.D.
  • 年度 2018
  • 页码 212 p.
  • 总页数 212
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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