Imelda Rocks the Boom Boom

retro nostalgia, Imelda May and the culture of Irish austerity

Carlton Brick, Kelly Davidson

Research output: Contribution to journalArticle

76 Downloads (Pure)

Abstract

This article focuses upon the recent emergence of the Dublin born musician, Imelda May, as a cultural icon in post-Tiger Ireland. May has become a significant figure in the recent socio-political remaking of ‘Irishness’, both globally and domestically, performing at the ‘Year of the Gathering’ in 2012 and the ‘Glaoch: The President’s Call’ in 2013. Following Bramell (2013) the article argues that Mays’s celebrity embodies a form of ‘disruptive performativity’ embodied in the aesthetic appropriation of austerity as an expression of feminine subjectivity. May’s self-consciously retro feminine aesthetic simultaneously problematizes and legitimates the structural inequalities and ideological constructions of Irelands recent economic past. The article concludes that May embodies a popular nostalgia for a radical, collectivist ‘Irishness’, while also manifesting the passive normalization of austerity within contemporary Irish cultural and political discourse. The postmodern historicity of May’s particular ‘retro femininity’ simultaneously locates her with contemporary discourse as a revivalist of conservative gendered identities, and (post) feminist revisionist.
Original languageEnglish
Pages (from-to)77-96
Number of pages20
JournalJournal of European Popular Culture
Volume8
Issue number1
DOIs
Publication statusPublished - 1 Apr 2017

Fingerprint

nostalgia
Ireland
aesthetics
discourse
VIP
musician
normalization
femininity
subjectivity
president
economics

Keywords

  • Retro femininity
  • Post-Celtic Tiger
  • Imelda May
  • ‘Irishness’
  • Austerity
  • Disruptive performance

Cite this

@article{c328f0a1ae384cfca839759a314b4984,
title = "Imelda Rocks the Boom Boom: retro nostalgia, Imelda May and the culture of Irish austerity",
abstract = "This article focuses upon the recent emergence of the Dublin born musician, Imelda May, as a cultural icon in post-Tiger Ireland. May has become a significant figure in the recent socio-political remaking of ‘Irishness’, both globally and domestically, performing at the ‘Year of the Gathering’ in 2012 and the ‘Glaoch: The President’s Call’ in 2013. Following Bramell (2013) the article argues that Mays’s celebrity embodies a form of ‘disruptive performativity’ embodied in the aesthetic appropriation of austerity as an expression of feminine subjectivity. May’s self-consciously retro feminine aesthetic simultaneously problematizes and legitimates the structural inequalities and ideological constructions of Irelands recent economic past. The article concludes that May embodies a popular nostalgia for a radical, collectivist ‘Irishness’, while also manifesting the passive normalization of austerity within contemporary Irish cultural and political discourse. The postmodern historicity of May’s particular ‘retro femininity’ simultaneously locates her with contemporary discourse as a revivalist of conservative gendered identities, and (post) feminist revisionist.",
keywords = "Retro femininity, Post-Celtic Tiger, Imelda May, ‘Irishness’, Austerity, Disruptive performance",
author = "Carlton Brick and Kelly Davidson",
note = "12 months embargo",
year = "2017",
month = "4",
day = "1",
doi = "10.1386/jepc.8.1.77_1",
language = "English",
volume = "8",
pages = "77--96",
journal = "Journal of European Popular Culture",
issn = "2040-6134",
publisher = "Intellect",
number = "1",

}

Imelda Rocks the Boom Boom : retro nostalgia, Imelda May and the culture of Irish austerity. / Brick, Carlton; Davidson, Kelly.

In: Journal of European Popular Culture, Vol. 8, No. 1, 01.04.2017, p. 77-96.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Imelda Rocks the Boom Boom

T2 - retro nostalgia, Imelda May and the culture of Irish austerity

AU - Brick, Carlton

AU - Davidson, Kelly

N1 - 12 months embargo

PY - 2017/4/1

Y1 - 2017/4/1

N2 - This article focuses upon the recent emergence of the Dublin born musician, Imelda May, as a cultural icon in post-Tiger Ireland. May has become a significant figure in the recent socio-political remaking of ‘Irishness’, both globally and domestically, performing at the ‘Year of the Gathering’ in 2012 and the ‘Glaoch: The President’s Call’ in 2013. Following Bramell (2013) the article argues that Mays’s celebrity embodies a form of ‘disruptive performativity’ embodied in the aesthetic appropriation of austerity as an expression of feminine subjectivity. May’s self-consciously retro feminine aesthetic simultaneously problematizes and legitimates the structural inequalities and ideological constructions of Irelands recent economic past. The article concludes that May embodies a popular nostalgia for a radical, collectivist ‘Irishness’, while also manifesting the passive normalization of austerity within contemporary Irish cultural and political discourse. The postmodern historicity of May’s particular ‘retro femininity’ simultaneously locates her with contemporary discourse as a revivalist of conservative gendered identities, and (post) feminist revisionist.

AB - This article focuses upon the recent emergence of the Dublin born musician, Imelda May, as a cultural icon in post-Tiger Ireland. May has become a significant figure in the recent socio-political remaking of ‘Irishness’, both globally and domestically, performing at the ‘Year of the Gathering’ in 2012 and the ‘Glaoch: The President’s Call’ in 2013. Following Bramell (2013) the article argues that Mays’s celebrity embodies a form of ‘disruptive performativity’ embodied in the aesthetic appropriation of austerity as an expression of feminine subjectivity. May’s self-consciously retro feminine aesthetic simultaneously problematizes and legitimates the structural inequalities and ideological constructions of Irelands recent economic past. The article concludes that May embodies a popular nostalgia for a radical, collectivist ‘Irishness’, while also manifesting the passive normalization of austerity within contemporary Irish cultural and political discourse. The postmodern historicity of May’s particular ‘retro femininity’ simultaneously locates her with contemporary discourse as a revivalist of conservative gendered identities, and (post) feminist revisionist.

KW - Retro femininity

KW - Post-Celtic Tiger

KW - Imelda May

KW - ‘Irishness’

KW - Austerity

KW - Disruptive performance

U2 - 10.1386/jepc.8.1.77_1

DO - 10.1386/jepc.8.1.77_1

M3 - Article

VL - 8

SP - 77

EP - 96

JO - Journal of European Popular Culture

JF - Journal of European Popular Culture

SN - 2040-6134

IS - 1

ER -