Teenage Ankst : How a record label made the Welsh language cool

1
Teenage Ankst How a record label made the
Welsh language cool

• Dr Ian Johnson
• ian.johnson_at_plaidcymru.org

2
Teenage Ankst

• Introduction
• Welsh language in context
• Welsh music in context
• Recordiau Ankst Records
• 1980s
• 1990s
• Legacy
• Discussion and conclusion

3
Introduction

• Examining importance of extra-curricular
  activities for minority language usage by teenage
  L1 (or fluent L2) speakers and prospects of
  language learning from current non-speakers
• Uses example of Cool Cymru in Wales during
  1990s, specifically impact of the record label
  Recordiau Ankst

4
Welsh language in context

• 2001 census shows 580,000 speakers of Welsh in
  Wales, around 20.5 -
• an increase in numbers and percentage compared
  to 1991
• Highest percentage of speakers is 3-15 year olds
  37.5
• Growth in Welsh language education for non-native
  Welsh speakers

5
Welsh music in context

• Wales has a strong musical tradition expressed in
  Eisteddfod etc.
• Development of Welsh language music largely
  comparable to anglo-American scene
• Largely consensual, Welsh language audiences
  watched Welsh-language bands

6
Welsh music in context

• 1980s saw split in Welsh music scene with bands
  such as Anrhefn (Disorder) and Datblygu
  (Progression) playing alternative music, often
  criticising mainstream Welsh culture
• Over the years, Welsh youth music well served by
  media outlets television programmes such as
  Fideo 9, i-dot and Bandit and radio such as C2 on
  Radio Cymru, and fanzines such as Sothach!

7
Recordiau Ankst 1980s

• Formed by students at Aberystwyth Uni in 1987 as
  part of DIY (Do It Yourself) movement
• Bands such as Y Cyrff (The Bodies) began to get
  play or attention from alternative English media,
  e.g. John Peel on Radio 1 or New Musical Express
  weekly newspaper
• Ankst released variety of Welsh music house,
  indie, techno, dub rap

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Recordiau Ankst 1980s

• Recognition from outside agencies gave increased
  cultural capital to Welsh bands
• This led to virtuous circle of bands recognised
  by alternative peers in England and simultaneous
  support in Welsh language media through
  television and radio as well as fanzines and
  newspaper coverage

9
Recordiau Ankst 1990s

• During mid-1990s Gorkys Zygotic Mynci (GZM) and
  Super Furry Animals (SFA) became banner-holders
  for Welsh music amongst non-Welsh speakers
• GZM album Bwyd Time, a mixture of Welsh and
  English songs, was number 1 in UK independent
  albums for 4 weeks
• SFA were signed to Creation, Oasis label

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Recordiau Ankst 1990s

• GZM and SFA were both considered cool on UK
  level, with Welsh identity and language prominent
  in whichever language they sang, e.g. GZMs
  bilingual Patio Song a Radio One pick of the
  week
• However, criticism of bands in Welsh media for
  singing in English as well as Welsh

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Recordiau Ankst 1990s

• Emyr Glyn Williams describes this as a poisoned
  chalice due to politicised nature of language
  and of language subsidy (explicit or implicit)
  rather than artistic value and reality of
  bilinguality amongst musicians
• Ankst split in 1997 after Melys (Sweet) are
  signed by an international label, becoming a band
  management company and Ankstmusik, continuing to
  release records

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Recordiau Ankst Legacy

• Provided the space for a generation of Welsh
  musicians to develop their targets and compete in
  a wider cultural sphere inside and outside of
  their own language group
• Normalised cool and alternative music in
  Welsh amongst native speakers and non-speakers,
  giving Welsh language cultural capital

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Discussion

• Factors that created right time for Ankst?
• - Musicians looking to experiment and develop
• - Audience (Welsh-speaking or not) open to music
  in Welsh
• - Company willing to stretch boundaries and
  embrace new concepts in promotion

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Discussion

• Can these factors be replicated or planned?
• - Cool is an abstract concept difficult to pin
  down
• - Traditions are different for each culture
  therefore music and notions must be adapted
• - Bilingualism or monolingualism in lyrics?

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Discussion

• Was Ankst successful because it was not
  planned, i.e. other agencies supported an
  organic movement rather than attempted to
  stimulate one which can often appear contrived
  and uncool?
• Cultural freedom must therefore be supported by
  planners, without targets. Minority language
  artists allowed to create for themselves without
  interference or value judgements on their work.

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Conclusion

• Anksts success was in persuading critics and
  general public that Welsh language music was of
  quality and that quality was more important
  than language of lyrics
• A specifically Welsh music not aping
  Anglo-American norms
• Cannot be planned but should be supported

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References

• Aitchison, J. and H. Carter (2004) Spreading the
  word The Welsh language 2001. Talybont Lolfa
• Bourdieu, P. (1986) Distinction A social
  critique of the judgement of taste (translated by
  Richard Nice). London Routledge and Kegan Paul.
• Bwrdd yr Iaith Gymraeg the Welsh Language Board
  (2003) Nifer siaradwyr
• http//www.byig-wlb.org.uk/Cymraeg/yriaithgymraeg/
  Pages/PwyywrsiaradwyrCymraegBlemaennhwnbyw.aspx
  (accessed 06/08/2009)
• Frith, S. (1978) The Sociology of Rock. London
  Constable
• Foggy Notion fanzine (1997) Ankst Records
  1988-1998 http//www.axkx15.dsl.pipex.com/webhisto
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• Llwyd, E. (2000) Super Furry Animals (English)
• http//edmi.parliament.uk/EDMi/EDMDetails.aspx?ED
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• Williams, E.G. (2009a) Byw dan Jackboots Magi
  Thatcher (Welsh)
• http//www.bbc.co.uk/radiocymru/c2/safle/emyrwilli
  ams/cynnwys/rhaglen2.shtml (accessed 05/08/09)
• Williams, E.G. (2009b) Pop Negatif Wastad - Helo
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• http//www.bbc.co.uk/radiocymru/c2/safle/emyrwilli
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• Morton, C (2002) Dim a Radio Datblygu (English)
• http//www.furious.com/perfect/datblygu.html
  (accessed 06/08/09)