France Eurovision 2022 Reactionalysis (reaction) - Music Teacher analyses Alven & Ahez - Fulenn
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- Опубліковано 8 чер 2024
- France's entry for the Eurovision Song Contest, 2022, Alven & Ahez - Fulenn, has some surprises this year! MTR discusses some of the compositional features behind what makes this an interesting entry. But discussion soon takes a different, more serious route, where there is a call to question about the choice of some traditional instrumentation!
What are your thoughts?
#ESC2022 #Fulenn #France #Reaction
Original Video: • Alvan & Ahez - Fulenn ...
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It seems that the use of the yidaki by non-aboriginal people has contention but the presently deceased spiritual keeper of the instrument, Djalu Gurruwiwi, from Arnhem Land has given permission for non-indigenous people to use the instrument. He has travelled the world giving exhibitions of his culture’s music and educated others on making and playing the yidaki. There is pushback with a number of Aboriginal tribes who assert that groups (such as women) should not play or touch the instrument but it doesn’t seem to be a majority opinion among all the tribes.
I do think that there is an element of cultural sensitivity and taste involved in using such an instrument but I think it’s fair to say that it was treated tastefully in this performance. I will comment that there was rightful backlash on a certain American woman who played the didgeridoo while using it as a pole to dance about.
I did find an interview from one of the members of Ahez [1]:
“Marine Lavigne: Alexis’s work first appealed to me because of the mix of different musical worlds. He’s from the electro scene, but he’s heavily influenced by rock bands. His personal touch is the ukulele. There are several “Fulenn” with didgeridoo notes. These are instruments that are generally unrelated to Brittany music.”
With that we clarified that the notes are indeed from a didgeridoo and that it’s not native to Breton, at least according to Lavigne.
As for issues of cultural appropriation of instruments- it’s a complex issue which had to be worked through case by case- but I think that resolution can be arrived by getting indigenous people to work with groups attempting to use the instrument. I’m reminded of Jeff Buckley who worked with the Qawalli (music endemic to Islamic Sufis) singer Nusrat Fateh Ali Khan, and incorporated those aspects into his album Grace. Buckley emulated a similar spiritual reverence in his songs as did Qawalli singers in their own.
Hope what I said helps!
[1] Google “The Alvan & Ahez Group is “very proud to bring Breton to Eurovision.” [Interview]
You are absolutely amazing for this response! This is the kind of response I was after. Thank you so much!
As a French woman, raised in Brittany, I swear there is no cultural appropriation here. It"s, for the Bretons/Breizhad, the traditional instruments, the traditional language (and in France it's very controversial to speak a regional language and not in French), the traditional musical style with electro to modernize the song.
Please dont fall into the arrogant trap of assuming you know what instrument is making that underlying sound, and then all but accuse them of cultural appropriation.. That angle really impinges on your otherwise professional assessment.
Thank you! This is why I’ve posed the question to those who may know better, and hoping to get some sound answers here. Unfortunately I haven’t any yet 😔. The song is a banger though!
I agree here that the focus on the didgeridoo is crazy. Like let’s talk about the harmonies or the lyrics or the fact that it’s a minority language. I am very sure it’s way more a jaw harp not a didgeridoo. So probably not an indigenous Australian appropriation versus the jaw harp. You let that totally steamroll an otherwise good review! Also, let’s think of the fact that many instruments have influenced many beyond their own country. IE: accordion in German polka and traditional Mexican music. Instruments are not isolated. I love this song and I loooooove the indigenous sound of it considering the Celtic / Breton origin. It’s so nice to hear this in ESC!
Hello from France! 🇫🇷 Thank you for your analysis, bit's always a pleasure to learn from you. Well my compatriots will certainly do better than me, but may I introduce some facts. Alvan (the man) and the band Ahez are Bretons, from Bretagne, a western region of France which has its own specific culture and mythology. And it's own set of regional instruments through History. Your concernings about this didgeridoo caught my attention. I'm not an expert at all, but I made little research, and I discovered there are many many many didgeridoo "fabricants" in Bretagne. Why? Maybe my French sisters and brothers will know! I'm sure there's an explanation about this one, and I'm very curious! 🙂
Ohhh this is great. Thank you so much!! I’m so sure I’ll get a sound answer here from those more knowledgeable about this. I’m gonna research this now!
Thanks again 😊
La langue bretonne à été quasiment perdue en une seule génération, ça été très violent culturellement, la génération qui a suivi à été très marquée et la génération suivante s est intéressée aux cultures minoritaires du monde entier, pendant ce temps une minorité à continué à sauver ce qu ils ont pu de la culture traditionnelle. Il y a énormément de personnes avec des dreadslock en Bretagne et de joueur de digiredoo.
@sansan Exactement ! J'aurais bien aimé dire tout ce que tu as dit en anglais mais je cherche mes mots 😬
@@sansan-sk7jf C'est un repère de teufeurs aussi la bretonie, ca explique aussi les dreads et tout un tas d'instruments "tribaux"
This is very interesting! Sorry I will have to reply in english, but i've put this through google translate and it makes sense. It's rather a grey area, because I also looked this up and have seen that the didjeridu has been manufactured in Bretagne. I'm still very wary about its usage, considering that it's deeply linked specifically to Indigenous Australians, especially from Arnham Land (but not limited to here). I read an interview with the guy who recreates them (and changes them), and whilst he acknowledged he has "respect" for the Aboriginal culture, he then went on to say he knows nothing about the culture (which makes it interesting as to why you can respect something you know nothing about). From my interpretation of this, recreating an instrument you know nothing about and its significance to culture is in itself disrespectful, and whilst I cannot fault the song for using it within culture stemming from Bretagne, it once again shows a lack of understanding and dismissal of the cultural significance of the instrument itself (and the way it portrays peoples)
France 12 points from Sweden🇸🇪❤️🇨🇵
It’s a great piece of music! Thanks for watching 😊
@@TheMuserResolute No problem, earned a sub😁
What do you think of Cornelia’s entry?
@@TheMuserResolute i truly love it, i think we have a chance to win this year
@@robingoransson5591 stay tuned for my reaction of it 😊. In all honesty, it’s very much a reaction rather than analysis, but now I know it better I have a lot more to say about it!
A classic
Couldn’t disagree more about the drone with the overtones - it’s over layed with male vocal (notably on the ascending scale moments) and then imitates the old Celtic war horns which create this extract sound (we know as they have been found intact in bogland). If you check out the Celtic choir ANÚNA who sang at the beginning of Riverdance they pepper their drones with the same effect. The bellow in the Celtic bagpipes is often used as this sound of drone as an approach in music also.
Cultural misappropriation unfortunately happens but it’s important to know and understand the culture these artists are portraying and are purveyors off. The ladies esp would be considered ‘traditional singers’. So I think the analysis is unfair in this case.
Thank you so much for this. This is why I’ve pumped this analysis out first because I really wanted to hear the opinion of those who knew this song (and also especially the Celtic background).
I can’t comment on anything else in this from a critical standpoint (especially the vocalists and the themes), but I can only comment on the didj with my understanding of what I’ve learnt (which was the only critique).
Are you able to link me to the appropriate river dance performance of this? I wasnt sure which one. Thank you so much!
Regarding the celctic war horn, it’s got a very brassy tone colour by comparison, and I feel like the way they’ve used it in this piece of music doesn’t represent that timbre or explore it’s pitch capabilities. It doesn’t seem like the Celtic war horn (from what I saw) is capable of doing a drone with the same kind of timbre as represented here.
@@TheMuserResolute check out the drone / over tone on this piece (from about 2mins) - it’s a live recording so you’ll have to listen in closely ua-cam.com/video/GXsqF958MgA/v-deo.html but you should hear something akin to a d’do sound….
Thanks for sharing this. It certainly has a similar timbre, with the ability to change pitch more freely (unlike the didj). Fulenn doesn’t seem to explore this capability.
I can only trust that the artists and composers of this piece know what they’re doing, especially that it largely explores music of a culture which I’m unfamiliar with. I’m sincerely hoping I’m wrong, but I feel like everything is speculation (even on my part).
Considering the didj is unmistakable, and unless it’s been appropriated (which a comment above says it has been remanufactured in Alven’s home town - which I’ve just checked out), there is no other instrument like it.
My concerns though are only from my limited knowledge and understanding of the use of the Yidaki in certain Australian indigenous cultures, and I’m sure you’ll understand that if they’ve indeed even used an electronic didjeridu drone, without permissions, this is extremely problematic.
Again, I can only trust that that’s not the case and I have just misunderstood.
@@TheMuserResolute The use of a drone makes it possible to locate the tonality, to put the listener directly at the current of the mode which will be used in the pairs biniou bombarde.
But that's not what it's about, it's a didgidero, an instrument widely used among partygoers in Brittany, but especially in Goa trance festivals in India and in northern European countries. ua-cam.com/video/QzNJ4pGSu1M/v-deo.html ua-cam.com/video/acjn0PwMGtQ/v-deo.html
Using a drone: ua-cam.com/video/dXinY_WxTq8/v-deo.html
"Cultural appropriation" is a stupid notion. I'm German, I hope you won't play Bach etc. in the future. Thanks.
😂
This song is not tribal at all. This is celtic music even though using dodgeridoo and yukulele as well.
The song is about Katell Gollet's legend, a breton legend.
Katell Gollet was a beautiful 16-year-old girl who lived in her uncle's castle at La Roche-Maurice, near Landerneau.
Her beauty, unfortunately, was matched only by the perversity of her mind. The Count, wishing to free himself from this burdensome guardianship, nevertheless hoped to find her a husband who would take care to reason with her. Nevertheless, the beauty preferred to indulge in the pleasures of dancing and partying rather than thinking about marriage.
To counter her uncle, she used a subterfuge, making him declare that she would marry any man capable of making her dance for twelve hours straight. Many were the young people of the county to try their luck. But it exhausted them so much that some, dead of fatigue, could not see the next day.
The hecatomb was such that his uncle locked him up in one of the towers of the castle. But Katell escaped from it and went to the Pardon of the Martyr accompanied by a new horseman. Gavottes, plinns, jabadaos followed one another, the two dancers having a great time.
But neither could the young man resist the tireless Katell who, caught in the heat of dancing and alcohol, invoked the powers of hell asking for new musicians. This is how the devil dragged her into an infernal jig and thus made her cross the gates of the kingdom of the damned.
Your analysis of the lyrics is therefore wrong and the "tribal-didgeridoo" connection has no reason to be.
I remain surprised by your opinion which consists in saying that one can only use a musical instrument if one is of the same people as its inventor.
Bartolomeo Cristofori invented the modern piano in 1709. He was Italian. I'm not shocked that the rest of the world is playing it freely.
Thank you for this explanation.
Unfortunately my analysis wasn’t about one ‘can’t use an instrument if they’re not from that culture’, but more or less questioning whether the significance of the instrument at all was taken into account.
It’s not our job to speak for people of another culture at all, but from my understanding of the Yidaki, this may be cultural misappropriation. But I’m not an authority on this and would like to seek further clarification.
It’s easy for us to say “use the didgeridoo freely” when it doesn’t affect us nor do we understand its cultural significance.
Unfortunately my audience here may not understand because my analysis comes across as an attack on the artists (which it’s not at all, when in fact I think the song and artists themselves are magnificent).
@@TheMuserResolute as far as I know there are multiple instruments in Eastern Europe and Russia that sound the same . Which more or less just means that it’s not just from 1 culture
Isn't celtic music a modern construction? Like of course there are folksongs and of course there are residues of language, but when people sell "celtic music" it is usually a mix of other cultures from a little bit of everywhere and new-age stuff. I'm rather sure we don't have surviving music from that era.... sorry I just, used to nerd celtic stuff for a long time and was really bummed out when I realised all the "celtic music" isn't really celtic... or anything really. But it can still sound good and it is still okay to like it.
@@TheMuserResolute It's music, music is for everyone, I love the sound it makes it's nice to my ears, it feels good and I'm gonna use it even if I'm from Mars and not human, like damn just stop.
It sounds like a mouth harp to me.
When you mentioned the drone, I thought of bagpipes, which is a very Celtic instrument. Could that be it?
Also, fairly new subscriber here, so my other question is if you do all the Eurovision entries? I really love the ethnopop sound of the Albanian entry, Sekret by Ronala Hajati, and I hope you do that one soon.
Thank you for this! Unfortunately I won’t get to all the Eurovision entries, but I’ll be doing a few. I’m not sure if I’ll be able to get to Albania but I’ll see what I can do!
I really appreciate you taking the time to watch and comment aswell. I considered the bagpipes (or any other kind of pipe) in my research after this, but I couldn’t find one with a similar timbre 😔
Thanks so much again 😊
Dear lord, get a grip. Hans Zimmer literally just won an Oscar last month for putting Middle Eastern screams and Mongolian throat singing exclusively into scenes with villains, while reserving bagpipes for scenes with the good guys. You need to get out of your Australian bubble a little and confront the realities of global music production. No one owns a trademark on didgeridoo sounds.
Zimmer got critique for that hahaha. Like a lot. However, Dune is a subversion of a lot of the things MTR talks about so meeeeh wait for part 2 before speaking too much on this I'd say hmm.
Dear me, this is such a hot topic, the risk of writing a wall of text is real and I don't want to.
Personally I am in favour of an extreme interpretation of the concept of cultural appropriation, but in the other direction from the mainstream.
If the didgeridoo were used exclusively as a sacred instrument and or in funerals and or in moments of vital importance for the community, then I would agree that it is not appropriate to use it in other contexts. But, as far as I could find, the instrument is used for a range of purposes, among them entertainment.
Second: do the performers state that they are upholding traditional Aboriginal culture? That they preserve the traditional music? Not that I know of.
Then for me the use of the didgeridoo is perfectly legitimate. As it would be the use of the Japanese shakuhachi or the Italian mandoline.
I'll make another example.
There's a favourite singer of mine, Eivør Pálsdóttir, who is Faroese. My favourite song of her features her using an Irish bodhran. There is no doubt about it, it's a bodhran. She is Faroese, the bodhran has nothing to do with Faroese folk. Does this mean she has culturally appropriated the instrument?
Check the song, if you like, it's called Trøllabundin. There are many different versions here on UA-cam, I prefer the most bare-bones one.
P.s. I like France's entry a lot. It's so much better and more original and meaningful than last year's.
Thanks for this! It is rather complex and it’s really not my place to say whether this is cultural misappropriation or not. You make some excellent points, and really, I haven’t heard from whom this affects.
As you mentioned, this is an excellent entry. Compositionally creative with excellent performers.
I appreciate you taking the time to watch and comment, as you can see, there are lots of people getting pretty angry aswell in response to this 😆
Ok, I get your problèm, but I hear that kind of sound in horror or thriller for the atmosphère all the time. It has been fashionable to use the ukulele in all kind the music and countries for me it's the same ....and I remember that the acadiens and cajuns from the bayou.... ( they are related to the bretons ) use the harp jew that produce that type of sound. I'm from Bretagne, you can also produce this kind of sound with the biniou .
it is not the instrument you think a local version of bagpipes known as the biniou. The largest size of biniou is the biniou braz (big biniou) and there is a smaller, more antique version called the biniou coz (old biniou).
Thank you for this. I will check it out.
May I suggest that you read up on the history of the Breton language, mythology and culture before you get all worked up? You are the one displaying ignorance of a minority culture in this case.
Thank you for this. I know this will rile a lot of people up, jumping to the defence of their favourite song.
My gripe has nothing to do with the Breton language nor their culture, but a query as to the significance of using a particular instrument, from my understanding.
The song and artists are magnificent independent of my queries
@@TheMuserResolute An analysis of this song is worthless if you lack elementary knowledge of what Breton language and culture represent
Apologies. I do understand where you’re coming from. Admittedly, yes, I did go into this with 0 knowledge (as people like seeing with “reactions” - they expect a first time listening).
Being a music teacher, from a first time listening. I go in and analyse the musical features, which most times unfortunately mean the lyrics take a back seat. I do acknowledge though that the lyrics are equally as important.
It’s hard to know what audiences expect with this kind of “content” (I say “content” because reactions themselves imo are hardly creative content 😆). Often it’s safer for the reactor to smile and nod, say they like the song, and give an opinion everyone wants to hear. +500 subscribers. Confirmation bias wins.
Atleast in this case, we can have a meaningful conversation about things, hey?
@@TheMuserResolute There are plenty of reaction videos out there, most of them have nothing to do with serious analysis, which is fair enough. But since you purport to provide analysis, maybe the next time you do some reading before you go public. The oppression the Breton language and culture has been subjected to over the last century is a suitable place to start.
absolutely, thank you for this, and I’ll certainly look it up. France has sent something brave this year, and I think it will connect really well with audiences. For me, musically.
This is, though, independent of my remarks re: the didj.
That reaction was interesting. As a Russian woman learning to play didjeridoo, I should say that I'm fond of this instrument and I like when musicians use it. As well as any other ethnic instrument. And this very song is perfect for it. I will probably say a horrible thing, but if you watch Vikings series (somewhere in the beginning of the story), you will hear a didjeridoo in the scene of human sacrifice. This is a weird place for a didj (vikings epoch).
Thank you for your respectful comment! I got a little carried away but also misinterpreted by many 😆
I don’t believe there’s any problem with non Australian indigenous people learning the didj.
It must be very challenging. Hope you’re enjoying it!
@@TheMuserResolute thank you) As any instrument it needs constant practice, which to tell the truth I do not always provide) but I really like it.
You’re overanalysing and overreacting. The reason why you’re upset is because aboriginal people in Australia have been awfully treated by non-indigenous (mostly English) people. But what does it have to do with this French group and their song!?! The fact that the band is using a didgeridoo is actually a great recognition to the contribution aboriginal people have made to music.
Hmmm maybe the celtic horn is expensive and hard to play, so they went with a more common instrument (from a different culture) that would be easier to play compared to a horn, (that perhaps was cheaper since they manufacture it over there?) Idk if they play the horn like a didj then what is the point of using a celtic horn? Like SHOW that its a horn orelse the only thing I hear is a didj haha. Now, I don't hate this song and the representation of the language is really cool. But maybe they should have workshopped some things a little bit harder perhaps.
oh and I absolutely love how no one knows what instrument this (australian-sounding-instrument) is, but they all know it is not australian. haha, so many ancient european instrument will be rediscovered while we try to figure out this mystery hahaha. I'll pitch in and say that it is OBVIOUSLY A NYCKELHARPA you fool!! and then it changes into a TAGELHARPA by the end! (JK love u
😆
This "cultural appropriation" BS has to come to an end, and being triggered by cultural references used outside of their usual context is completely bonkers. Are Mongolians the only ones who have the right to use their traditional throat singing, or Europeans the only ones who have the right to play classical music? SMH.
yes there is a didgeridoo and a yukulele too
Thank you 😊 I was quite confused
By now he was playing the ukulele.
It was very creative!!
The clip ua-cam.com/video/pe29d9luZOc/v-deo.html
me thinks u need to stop watching biased australian media , its a musical instrument used all over the world in many cultures
I think you should understand the lyrics to get a more precise opinion about the structure of the song...
There is no such thing as appropriation we are all human beings. Do you think that singing in another language is appropriation? If I play the tsymbaly and I'm not an ethnic Ukrainian does that mean it's appropriation? A very sad focus indeed. Very poorly thought out. You ruined this video completely.
I do expect the backlash. I also expect people to not understand. Love the song and it’s sad many people are taking offence to me respectfully posing a question. But it is what it is🤷♂️
Unfortunately the purpose of reaction videos seem to be that of trying to fulfil a viewer’s confirmation bias, and when the “reactor” expresses a view to the contrary, the video is ruined
@@TheMuserResolute I don't see much of a backlash. I just see people challenging what is a racist supposition on your part. If you take some time to reflect on your beliefs you'd see that they are rooted in racism.
You are correct, to an extent. Im very clear in saying that cultural (mis) appropriation here is not my call. The racism I may be seeming to express is towards the Australian Indigenous people for giving off the impression that I’m speaking for them.
In response to part of your first comment, this video was not thought out, and if it were, things probably would have been expressed in a far better way. “Reactions” are the lowest, cheapest form of content people can create, for that exact reason - there’s no planning, and often little editing. Where a point that a viewer disagrees with is deemed “not well thought out”, it very often seems that if the viewer agrees with a point, it’s suddenly insightful or well thought out. Nothing is well thought out in reaction videos.
Those challenging my questions are not indigenous Australian, and tbh those are the only opinions of whom matter here in the question I’m posing. Not mine, not yours, not anyone else’s.
I have learnt a considerable amount from the comments here, but those who are quick to say the use of the didj here is not cultural misappropriation are doing so for patriotic reasons and taking offence, which again, is none of my concern. No one can say that it is or isn’t cultural misappropriation without actually consulting the people whom this affects. Which again, I’ll direct you to the fact that I was clear that this is not my call to make and that I would love to hear from those whom it affects.
I don’t think I’ll get an answer to what I’m looking for, considering that the majority of views are coming from France and other European countries. It’s important to know I’m not expressing an opinion or belief, because I don’t believe I have a right to hold what I deem to be a valid opinion or belief on this matter without actually understanding that of whom this affects. Just like I don’t have the right to hold beliefs or opinions which I think are valid about Bretons and their hardships and history which are contrary to what they express.
I actually really liked this song. About the didgeridoo, it’s probably just used to give the sort of tribal feel to it, because those stuff (along with typical western Asian or middle eastern tunes) are just widely used to represent large groups of people because western or European countries mostly aren’t (the typical person / pretty much all of the older generation) just identify those sounds with specific cultures or styles. I don’t think that the artists really know that it might not be the best to use it, or do, but have to because most of their listeners (who mostly reside in Europe) will identify that sound with the theme they’re going for. But I don’t know, I’m going off of an idea I had and I don’t think I brought it across too well, so if something isn’t clear just ask.
Didn’t expect an upload two days in a row, but I won’t complain haha
Loved the video as always
Thanks! I really liked the song too. It’s gonna do well! I’ve gotta smash out these Eurovision ones before May 14, and I don’t want Eurovision to take up all my content, so I’m upping my uploads until then :p
Regarding the didj, I’m expecting a few comments to let me know it’s not that, and that’s totally fine (I’ll keep doing my research). I was so sure that was the sound, but if it’s something different then that’ll be great.
I know I was super uptight in this 😆 I’ll see the responses I get and hopefully they’ll direct me to an answer!
Thanks again
I really think that the whole "cultural appropriation" argument is crap, not only in this specific case but in general. Art in every form is heavy based on influences from different cultures and different people. If someone is offended by this, instead of being proud, it's its own problem. White men feeling bad because an aborigine instrument is being used out of the original context (or some traits of african culture, we have many examples) is because of the unresolved sense of guilt for the atrocities made against these people in the past.
See the pinned comment 🙂
Cultural appropriation: a concept created by people who have nothing better to worry about. A non issue. If something sounds or looks good, use it! The world needs beauty, not false problems.
Btw, anyone born in Europe worried about "cultural appropriation" should immediately stop eating bananas, curry, potatos, mangos, etc. These foods are originally from other places and belong to other cultures´ cuisines. I´m from Portugal, the land of cork. I get terribly offended when I see wine bottles from other countries misappropriating Portuguese cork. Especially Australian wine bottles! The world has gone mad.
Thanks. Read the pinned comment
If you really wanted to seek for explainations from the people of that culture, like I saw in your answers here and there, this is the worst method. Instead of assuming straight away like you did like if you seemed to know everything, ask your questions and ONLY THEN criticize if there is indeed anything to criticize.
And that being said, I'm so tired of everything being called "cultural appropriation". We don't sue Japanese people for American cultural appropriation when they create rock music in Japanese or Europe for having original western-like operas in Japanese too, so why should it be one way?
You have to know is not france is we call Breton language close to Celtic Breton is western of france this music is folk etetro folk traditional strange culture and traditional this part of france
8:45 NO! DISLIKE! Enough said.
Culture is important and need to be shared and mixed with other cultures in order to evolve and not be rotten by becoming old and out of date when a new generation come. Cultures had always mixed up with each other, this is basically how culture work. It's important to have an identity, but you add layers comming from other places because those layers inspire you and talk to you, and mixing it up create new things and and both cultures get more rich because of it. Comparing this with cultural appropriation like he stole the instrument from a dead corpse is utterly ridiculous. I'm progressist myself, but hearing this kind of shit really grind my gears. Is it possible for an american to just enjoy simple thing without feeling shame for things that he hasn't done personnaly ? Is it possible for an american to not trying to shame others because he feels so rightous to do so ? If you want to go after republicans for their insanity, be my guest, but if you want to talk about others who are not americans, please don't involve us in your culture wars. Really not interested by that layer of yours.