“Between the experience of living a normal life at this moment on the planet and the public narratives being offered to give a sense of that life, the empty space, the gap, is enormous.” —John Berger
Estate: a reverie
Estate: one’s home and money
Estate: a mansion or a plantation
Estate: order or class of a political community
Estate: landed property, especially in the countryside
Estate: property development, especially of new houses
Estate: property or possessions, especially of the deceased
Estate: state, period or position in life, especially with regard to wealth or social standing
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Professional musical artists continually respond to and interact with the neoliberal social formation through the hegemony of the commercial music industry.1 This post presents findings from my doctoral study investigating the complex, entwined relationship between commercialized traditional music and neoliberalism in Ireland, the United Kingdom, and the United States. The four-year ethnographic study engages over eighty prominent professional Irish traditional and Celtic musical artists and related industry personnel. This post suggests domination in the music industry is primarily achieved and reinforced through exclusion. This is accomplished by restricting access to three forms of capital identified by Bourdieu (1986): cultural, economic, and social, which correspond with the three modes of domination: ideological, material, and status. This work explores how, when, and why professional artists may utilize acts of resistance2 against different forms of domination when attempting to improve their relative social position.
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Journal of Global and Historical Anthropology