Cape Breton Island, Nova Scotia, is currently the heart of the North Atlantic Celtic music revival. Fueled by a booming tourism industry, efforts in cultural preservation, and claims as a last stronghold of Gaelic speakers outside Scotland, Cape Breton Island is an international gathering place for tourists and performers to encounter the larger community of Celtic musicians. This ethnography of a transnational music community explores the ways in which geographically disparate peoples encounter the transnational Celtic music community, learn what it means to belong, and through participation, become full members in the community. I argue that the transnational Celtic music community is best described as a community of practice, where members are active participants in the practices of social communities and constructing identities in relation to these communities. The role of international tourism, traditional arts schools, festivals, and interactive websites are examined through the lens of phenomenology and performance theory. Issues raised in this case study are cross-disciplinary in nature and can be applied broadly to research on globalization, international relations, and diasporic communities. More specifically, this research contributes directly to the field of ethnomusicology, folklore, performance theory, and tourism studies.
|Commitee:||Bauman, Richard, Magee, Jeffrey, Reed, Daniel|
|Department:||Folklore and Ethnomusicology|
|School Location:||United States -- Indiana|
|Source:||DAI-A 69/08, Dissertation Abstracts International|
|Subjects:||Cultural anthropology, Folklore, Music|
|Keywords:||Cape Breton Island, Celtic, Celtic culture, Communities of practice, Cultural tourism, Music, Nova Scotia, Tourism, Traditional arts schools, Transnational, Transnational communities|
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