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  3. Sounding Dissent: Rebel Songs, Resistance, and Irish Republicanism

Sounding Dissent: Rebel Songs, Resistance, and Irish Republicanism

Stephen R. Millar
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The signing of the Good Friday Agreement on April 10, 1998, marked the beginning of a new era of peace and stability in Northern Ireland. As the public overwhelmingly rejected a return to the violence of the Troubles, loyalist and republican groups sought other outlets to continue their struggle. Music, which has long been used to celebrate cultural identity in the North of Ireland, became a key means of facilitating the continuation of pre-Agreement identity narratives in a "post-conflict" era.

Sounding Dissent draws on three years of sustained fieldwork within Belfast's rebel music scene, in-depth interviews with republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland.The book examines the potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but also play a central role in the reproduction of conflict and exclusion in times of peace.
  • Cover
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • List of Abbreviations and Irish Words
  • Acknowledgments
  • Preface
  • Introduction
  • Chapter 1. Irish Rebel Songs and Their Origins
  • Chapter 2. The Red and the Green
  • Chapter 3. Irish Rebel Songs and the Onset of the Troubles
  • Chapter 4. Music from the Blocks
  • Chapter 5. Sounding Dissent
  • Chapter 6. Performing Pre-Agreement Narratives in a “Post-Conflict” Era
  • Conclusion
  • Notes
  • Bibliography
  • Index
Citable Link
Published: 2020
Publisher: University of Michigan Press
ISBN(s)
  • 978-0-472-13194-5 (hardcover)
  • 978-0-472-03887-9 (paper)
  • 978-0-472-12673-6 (ebook)
Series
  • Music and Social Justice
Subject
  • Anthropology:Cultural Anthropology
  • Cultural Studies
  • Music:Ethnomusicology
  • Irish Studies

Resources

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  • Chapter 23
  • Chapter 31
  • Chapter 42
  • Chapter 54
  • Chapter 63

  • Contemporary Rebel Music Scene6
  • Easter Rising3
  • The Troubles2
  • Bobby Sands1
  • Civil Rights1
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  • Millar, Stephen7
  • National Library of Ireland3
  • Bobby Sands Trust2
  • Poster Workshop1

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Headshot portrait of a man.

Portrait of James Connolly

From Chapter 2

Fig. 1. Portrait of James Connolly. (Image courtesy of the National Library of Ireland.)

Portrait of a man in profile.

Portrait of Patrick Pearse

From Chapter 2

Fig. 2. Portrait of Patrick Pearse. (Image courtesy of the National Library of Ireland.)

Portrait of a man sitting in a chair holding uilleann pipes (Irish bagpipes).

Éamonn Ceannt with his uilleann pipes

From Chapter 2

Fig. 3. Éamonn Ceannt, commandant of the Fourth Battalion of the Irish Volunteers at the South Dublin Union, with his uilleann pipes, 1916. (Image courtesy of the National Library of Ireland.)

Pamphlet cover with illustrations of a hand holding a smoking bottle bomb, a fist smashing a building, and a fighter with a gas mask and club.

Front and rear cover of Songs from the Barricades

From Chapter 3

Fig. 4. Front and rear cover of Songs from the Barricades. (Courtesy of Poster Workshop, London.)

A group of men sitting around a small table, smiling and drinking. One man plays a guitar.

Bobby Sands pictured playing his guitar in Long Kesh

From Chapter 4

Fig. 5. Bobby Sands pictured playing his guitar in Long Kesh. (Image courtesy of the Bobby Sands Trust.)

In a large funeral procession, hundreds of people walk behind a hearse, bagpipers, and soldiers dressed in camouflage.

Bobby Sands’ funeral procession in West Belfast

From Chapter 4

Fig. 6. Bobby Sands’s funeral procession in West Belfast. (Image courtesy of the Bobby Sands Trust.)

A brick building bears a broadside event advertisement. A flagpole on the building’s roof flies a green 1916 Irish Republic flag.

Wall mural on The Rock

From Chapter 5

Fig. 7. The Rock Bar advertises its weekly Rebel Sunday event, while a replica of the 1916 flag of the Irish Republic flies overhead. Photo by the author.

Fans in a concert crowd wear Irish tricolour clothing. One wears a green commemorative sports jersey.

Fan wears commemorative Aidan McAnespie GAA jersey

From Chapter 5

Fig. 8. One fan wears a headband, and another displays an Irish tricolour scarf, while wearing a GAA jersey commemorating Aidan McAnespie. Photo by the author.

During a performance, a musician wears a sports jersey printed with the text of the 1916 Proclamation of the Irish Republic.

The singer of a well-known republican group displays his GAA jersey, which has been modified to include the text of the 1916 Proclamation of the Irish Republic

From Chapter 5

Fig. 9. The singer of a well-known republican group displays his GAA jersey, which has been modified to include the text of the 1916 Proclamation of the Irish Republic. Photo by the author.

A man in a concert crowd wears a headband reading “God Bless the Pope

Fan wears “God Bless the Pope” headscarf

From Chapter 5

Fig. 10. One fan wears a headband reading “God Bless the Pope.” Photo by the author.

A man holds a gun-shaped guitar with a strap resembling a bandolier over his shoulder. His face is pixelated to protect his identity.

Musician poses with his gun-shaped guitar

From Chapter 6

Fig. 11. John displays his gun-shaped guitar. Photo by the author.

A man in a crowd at a nightclub mimics firing a gun into the air above him.

A fan mimics firing a gun in time with the music

From Chapter 6

Fig. 12. A fan mimics firing a gun in time with the music. Photo by the author.

A mural painted on a building depicts a Palestinian man carrying a bleeding boy on a Gaza beach. At right is a blood-stained Palestinian flag.

A mural in Belfast highlighting the plight of Palestinians in Gaza

From Chapter 6

Fig. 13. A mural in Belfast highlighting the plight of Palestinians in Gaza. Photo by the author.

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