By David Francis
There is every indication that our world is in a state of profound crisis. Everyone can compile their own list of symptoms.
To respond to the crisis we need, among other things, flourishing communities, characterised by their members’ sense of well-being, good health, civic engagement (social capital); a sense of place; respectful relationships with nature and each other.

By David Francis

There is every indication that our world is in a state of profound crisis.   Everyone can compile their own list of symptoms.

To respond to the crisis we need, among other things, flourishing communities, characterised by their members’ sense of well-being, good health, civic engagement (social capital); a sense of place; respectful relationships with nature and each other.

In order to flourish in the present and in the future communities also need a relationship with their past, theircollective memory.  It is our contention that two of the chief ills of our time (among many) are alienation and loss of meaning.  One way of addressing these problems is by identifying and exploring aspects of the cultural memorylinked to place.  Within the cultural memory we are interested in the possibilities of the ‘folk voice’ (an overlooked, vernacular voice, as opposed to official accounts and the perspective of those with political and economic power).

Because the traditional arts are a collectively created expression of the people’s encounter with geographical, historical, psychological and social circumstance, they offer a unique way of understanding the heritage, character and identity of a place.

By identifying and exploring the folk aspects of cultural memory, communities can enlarge their cultural capital and claim cultural equity for it: tangible and intangible assets, developed in many cases by unknown hands and minds, and which may have been hitherto undervalued, can be given value and have their value recognised both inside and outside communities.

I propose, therefore, that communities develop resources and tools for exploring the folk voice within the cultural memory (‘singing their own songs again, as Traditional Music Forum chair, Steve Byrne, has it), using it to share knowledge of the past, and to explore and express its creative possibilities for social, educational and economic benefit especially through the medium of cultural tourism.

To facilitate this work we need a) local networks of engaged individuals and organisations, b) skilled field-workers who can negotiate with, guide, and work with local groups and in communities to initiate projects which identify and explore tangible and intangible material and work creatively with the knowledge developed, c) information on sources of that material.

The value of this approach does not need to be proved from scratch.  Numerous studies have concluded that ‘active forms of engagement  – actively creating, exhibiting and participating – have better outcomes in terms of social capital.’ *

Given that reassurance we need to start projects.   In tandem with the practical work, we also need a theoretical underpinning, an understanding of the policy context, a methodology, and case studies and examples of similar approaches.   This is a good one: Steve Byrne’s blog from which comes the quote above.  We’d be delighted to receive examples of more, and any comments on this argument.

* Graham, H., R. Mason and A. Newman (2009).  Literature review: historic environment, sense of place, and social capital.  Newcastle: International Centre for Cultural and Heritage Studies.

This is a personal view and is not Traditional Music Forum policy.