A relatively large proportion of the early backcountry immigrants were Ulster Scots—later known as "Scotch-Irish", a group mostly originating from southern Scotland and northern England, who were seeking cheaper land and freedom from Quaker leaders, many of whom considered the Scotch-Irish "savages". In Scotland, the term "hill-folk" referred to people who preferred isolation from the greater society, and "billy" meant "comrade" or "companion".
Folk art reflects the everyday lives, beliefs, and experiences of ordinary people, and it often carries a strong sense of regional or local identity. It can be deeply connected to nature, spirituality, rituals, and the community's relationship with its environment. Folk artists often use simple and direct techniques and materials, and their work can be highly symbolic and infused with cultural significance.
Folk subcultures are emergent cultures that form out of some common situational experience, usually one that is challenging or from collective trauma. Folk subcultures are not just alternative expressions within a larger culture but rather emerge as a response to specific circumstances that shape the identity and practices of its members. This can include experiences of geographic isolation, socioeconomic challenges, or situational shared experience such as post-war disillusionment.
How do emergent folk subcultures form? How can we look at history to help us understand how situations can drive the emergent genesis of culture? How do subcultures express their shared experiences in art and music to become part of the collective zeitgeist?
Welcome to Episode 8 of The Richest Family, Emergent Situational Subcultures and The Industrial Folk Phenomenon where we discuss Hillbilly situational exceptionalism, folk subcultures, and the causes for the formation of the modern Industrial folk art experience.
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