Delia’s done is a conversation starter. We invite musicians and lovers of old-time and bluegrass music to think and talk about the impact of performing murder ballads in the 21st century.
Research shows that violence against women is more likely to occur in contexts where such violence is condoned, excused or downplayed, and rigid gender stereotypes are maintained. In classic murder ballads of the old-time and bluegrass traditions, women are beaten and murdered for wanting or not wanting to marry; for being unfaithful, pregnant or mean; or for no reason at all.
When we sing these songs, we change the rules for what sort of behaviours are acceptable. In most workplaces, it’s not acceptable to tell stories, and go into graphic detail, about women being murdered for being unfaithful. But if you’re in a context where it’s acceptable to sing about women as sexual possessions deserving of violence, it creates a space where maybe it’s ok to talk about women in that way too. And it’s the normalisation of these ideas that contribute to a culture that supports and enables violence against women.
Murder ballads have a long history. Like all folk traditions, they have evolved over time — from their origins in 15th century European broadside ballads to the oral traditions of the southern and mid-western states of America in the 19th century. Shaped by commerce and culture, their lyrics and storylines have been adapted time and time again to suit their audiences. In the 21st century, we are now beginning to understand how cultural norms support violence against women, to challenge what’s acceptable and to call out sexism and misogyny when we see it. It’s time we thought about what these songs mean for contemporary audiences, and what kind of culture we want to create at the gigs and festivals where our music is played.
Wear a t-shirt. Host a workshop. Have a conversation.