From the Faroes to the World Stage
This chapter explores music in the context of evolving transnational dynamics in the Faroe Islands, focusing on the tourism boom and on connections with the global music industry. Similar to the situation in Iceland a decade earlier, music became part of an evolving tourism economy in the early 2010...
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croxfordunivpr:10.1093/oxfordhb/9780190603908.013.6 2024-01-21T10:06:04+01:00 From the Faroes to the World Stage Green, Joshua Holt, Fabian Kärjä, Antti-Ville 2017 http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.6 unknown Oxford University Press Oxford Handbooks Online book 2017 croxfordunivpr https://doi.org/10.1093/oxfordhb/9780190603908.013.6 2023-12-22T09:35:15Z This chapter explores music in the context of evolving transnational dynamics in the Faroe Islands, focusing on the tourism boom and on connections with the global music industry. Similar to the situation in Iceland a decade earlier, music became part of an evolving tourism economy in the early 2010s, shaped by exotic views of the North Atlantic. Drawing from Urry’s concept of the tourist gaze, the chapter shows how Faroese bands work as producers of difference, within an international system of industry and institutions, including the Nordic Council. The analytical focus is on transnational mobility and industry networks of popular music and its performers. The chapter shows that Faroese bands engage with these transnational flows and with exoticism in the international marketing of their music. The core case study is the doom metal band Hamferð, whose career evolved to participation in international events, particularly festivals and competitions. Book Faroe Islands Faroes Iceland North Atlantic Oxford University Press (via Crossref) Faroe Islands |
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Open Polar |
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Oxford University Press (via Crossref) |
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croxfordunivpr |
language |
unknown |
description |
This chapter explores music in the context of evolving transnational dynamics in the Faroe Islands, focusing on the tourism boom and on connections with the global music industry. Similar to the situation in Iceland a decade earlier, music became part of an evolving tourism economy in the early 2010s, shaped by exotic views of the North Atlantic. Drawing from Urry’s concept of the tourist gaze, the chapter shows how Faroese bands work as producers of difference, within an international system of industry and institutions, including the Nordic Council. The analytical focus is on transnational mobility and industry networks of popular music and its performers. The chapter shows that Faroese bands engage with these transnational flows and with exoticism in the international marketing of their music. The core case study is the doom metal band Hamferð, whose career evolved to participation in international events, particularly festivals and competitions. |
author2 |
Holt, Fabian Kärjä, Antti-Ville |
format |
Book |
author |
Green, Joshua |
spellingShingle |
Green, Joshua From the Faroes to the World Stage |
author_facet |
Green, Joshua |
author_sort |
Green, Joshua |
title |
From the Faroes to the World Stage |
title_short |
From the Faroes to the World Stage |
title_full |
From the Faroes to the World Stage |
title_fullStr |
From the Faroes to the World Stage |
title_full_unstemmed |
From the Faroes to the World Stage |
title_sort |
from the faroes to the world stage |
publisher |
Oxford University Press |
publishDate |
2017 |
url |
http://dx.doi.org/10.1093/oxfordhb/9780190603908.013.6 |
geographic |
Faroe Islands |
geographic_facet |
Faroe Islands |
genre |
Faroe Islands Faroes Iceland North Atlantic |
genre_facet |
Faroe Islands Faroes Iceland North Atlantic |
op_source |
Oxford Handbooks Online |
op_doi |
https://doi.org/10.1093/oxfordhb/9780190603908.013.6 |
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1788696528244703232 |