Lowlands
Lowlands

You have to go to music festivals for this research

From Swifties and Beliebers to Punkers and Metalheads. Music can have a major impact on how you see yourself and which social group you belong to, as well as how we view neighbourhoods, cities and countries. The connection between music and the identity formation of people and places is the focus of afternoon-long symposium, From Hinterland to Europapa. ‘Through music, prevailing norms and values are negotiated.’

The cradle of hip-hop makes you think of New York, Portugal is the land of fado and when you say Normaal (Dutch band), you say the Achterhoek. Music is so much more than a combination of sounds: it can put neighbourhoods, cities, countries and even continents on the map, and determine how individuals and groups see themselves and are seen by others.

‘Both artists and genres can have great influence on the identity of people and places,’ says Melanie Schiller, professor of Contemporary Media Cultures at Radboud University. 'Songs, music videos, performances and everything else that falls under the phenomenon of music together reflect a certain group or place. On the other hand, and we don't always realise this sufficiently, music also has a formative effect.'

Melanie Schiller

Hip-hop or barnyard rock?

And music can shape in many ways, Schiller stresses. ‘It can inspire us to wear certain clothes or take a different haircut, but it can also zoom in on how we think about social issues such as masculinity and femininity,’ Schiller explains. Certain genres present a very traditional image, while other music questions what is masculine or feminine. Through music, prevailing norms and values are negotiated.'

During the symposium From Hinterland to Europapa, co-organised by Schiller, scientists discussed the connection between music, identity formation and placemaking in the Netherlands. Among other things, researchers will discuss differences between cities and the countryside and the role of dialects in music.

'Genres like hip-hop have had a major influence on urban culture and on our image of big cities, Schiller argues. A genre that stands out outside cities, in regions such as the Achterhoek, Overijssel and Drenthe, is boerenrock (farm rock). ‘In that music, artists set themselves off, sometimes jokingly, sometimes seriously, against the big city.’ Occasionally, a certain worldview shines through in that music. Schiller: ‘Like the feeling “we're not being listened to”.’

Immersing during festivals

It is precisely these political implications of music that interest Schiller. 'Think about the role of music in elections or protest movements. Music can have a political function, confirming, strengthening or questioning certain ideas or feelings.' Schilller is especially curious about what links exist between major phenomena such as polarisation and social change and the music people listen to on their way to work or over drinks with friends. 'To find out, as researchers we immerse ourselves in particular musical communities. For example, I myself have attended many boerenrock festivals, very interesting.'

What struck Schiller most during those festivals: ‘The idea of us the farmers, against them the city dwellers is very much alive, as is the performance of traditional images of masculinity and femininity. I also noticed that visitors wanted to lose control en masse, for example by drinking a lot. That seemed almost intended as a statement, like ‘we don't follow the rules here’ that normally apply. Of course, you may wonder how rebellious it is when you all don't stick to the rules...'.

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Art & Culture, Society