{"id":3790,"date":"2024-09-03T17:11:50","date_gmt":"2024-09-03T15:11:50","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=3790"},"modified":"2025-07-09T08:56:57","modified_gmt":"2025-07-09T06:56:57","slug":"mdwp006-ch6","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp006-ch6\/","title":{"rendered":"\u00bbHulapalu, What Is It All About?\u00ab"},"content":{"rendered":"<h2 class=\"subtitle\">Embodied Performativity in the Relationship between Popular Music and\u00a0Populism in Austria<\/h2>\n<h3 class=\"author\"><em>Andr\u00e9 Doehring <a href=\"https:\/\/orcid.org\/0000-0001-7320-3050\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a> , Kai Ginkel <\/em> <a href=\"https:\/\/orcid.org\/0000-0002-9850-640X\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        blockquote.tsquotation p em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n    <\/style>\n<p><\/head><br \/>\n<div class=\"one_third\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#e6e1e1 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp006-ch5\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_third\">\n<p style=\"text-align: center;\"><span class='bdaia-btns bdaia-btn-medium' 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id=\"zp-ID-3790-4511395-8G2WEAE2\" data-zp-author-date='Doehring-and-Ginkel-2024' data-zp-date-author='2024-Doehring-and-Ginkel' data-zp-date='2024' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Doehring, Andr\u00e9, and Kai Ginkel. 2024. \u201c\u00bbHulapalu, What Is It All About?\u00ab\u202fEmbodied Performativity in the Relationship between Popular Music and Populism in Austria.\u201d In <i>Populismus Kritisieren. Kunst \u2013 Politik \u2013 Geschlecht<\/i>, edited by Evelyn Annu\u00df, Ralf Von Appen, Sarah Chaker, Silke Felber, Andrea Glauser, Therese Kaufmann, and Susanne Lettow, 69\u201382. Wien und Bielefeld: mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.1515\/9783839474303-006'>https:\/\/doi.org\/10.1515\/9783839474303-006<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=8G2WEAE2' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nOur chapter highlights the complex interplay of music and politics, with a focus on the socio-material assemblages of situated musical practice. For our Austrian case study, we discuss the song \u201cHulapalu\u201d by singer Andreas Gabalier (2015a) and its role in election campaign events of the far-right populist Freedom Party of Austria (FP\u00d6). We will show why this song works in these settings quite well by analyzing and stressing the musical affordances the song makes. We argue that in order to understand the political potential of Gabalier\u2019s music, however, we have also to acknowledge how his <em>public persona<\/em> is ultimately overshadowed by his <em>embodied persona<\/em> arising from the musical performance, with an emphasis on the image of \u201cnature\u201d that is useful as a setting for political topics. Finally, we show how the FP\u00d6\u2019s campaign events benefit from the cheerful and seemingly inclusive disinhibition of the beer tent as a central election campaign venue for far-right populist actors.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">\u00dcber die Autoren<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">\u00dcber die Autoren<\/span><\/h4><div class=\"toggle-content\"><p>\n<strong>Andr\u00e9 Doehring<\/strong> (Dr. phil.) is professor for jazz and popular music studies and director of the Institute for Jazz Research at the University of Music and Performing Arts in Graz (Austria). He is a musicologist and sociologist and has been leading the Austrian part of the international project \u00bbPopular Music and the Rise of Populism in Europe\u00ab (Volkswagen Foundation, 2019-2022).<br \/>\n<strong>Kai Ginkel<\/strong> (Dr. phil.) is postdoc researcher at the University of Music and Performing Arts Graz (Austria) for the project \u00bbPopular Music and the Rise of Populism in Europe\u00ab (Volkswagen Foundation). He studied sociology, psychology, and political science and wrote his dissertation on noise music and the sociology of sound.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">\u00dcbersicht<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">\u00dcbersicht<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">1. Introduction<\/a><br \/>\n<a href=\"#2\">2. Methodology<\/a><br \/>\n<a href=\"#3\">3. Case Study: \u201cHulapalu\u201d<\/a><br \/>\n<a href=\"#4\">4. \u201cHulapalu\u201d: What It Is All About<\/a><br \/>\n<a href=\"#5\">References<\/a><br \/>\n<a href=\"#6\">Discography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<h4 id=\"1\">1. Introduction<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/h4>\n<p>In Austria, where at the beginning of our research the far-right populist party FP\u00d6 was part of the government, things often seem to be perfectly clear in media and scholarly discourse concerning the relation of far-right populism<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> and popular music. Usually, the focus of criticism lies on well-known pop stars such as Andreas Gabalier, who is said to spread political messages or conspiracy theories through public appearances, music videos, lyrics, or postings on instant messengers and social media. Publications on the topic frequently address visual aspects, analysing the imagery of record covers or music videos for their symbolism (cf. Balzer 2019, De Cillia et al. 2020). Whenever music is addressed, such writings tend to focus on a few selected songs with lyrics that fit well with established theories or judgments.<\/p>\n<p>Thus, our chapter addresses the necessity to highlight the connection between popular music and populism as musical practice (Blaukopf 1984). In socio-material assemblages (Born 2011), meanings do not merely emerge through distinct messages but through the embodiment of populist tropes. These are afforded (DeNora 2003) by music and its \u201cmaterial arrangements\u201d (Schatzki 2002). Taking all this into account, we get a clearer understanding of the complex and ambivalent interplay between music and politics in Austria.<\/p>\n<h4 id=\"2\">2. Methodology<\/h4>\n<p>Our research follows a three-stage methodological strategy. The 2019 starting point for our <em>ethnographic<\/em> work in Austria was the public election campaign events of the far-right populist Freedom Party of Austria (FP\u00d6) (cf. Pelinka 2005, Mudde 2019). The characteristic use of music at its events stands out in Austrian party politics, both in terms of its longevity throughout the past 30 years and its mode of practice. Here, the FP\u00d6 usually features a live band performing a longer set of cover versions of folk-like schlager, rock, and country music songs before and in between the speeches of politicians and during the events\u2019 finales. On that basis, we continued our field research as we visited public events where the same or similar music was played, such as party tent festivals, funfairs, and relevant concerts. In this sense, we followed the songs as the central actors of our research (cf. Latour 2005).<\/p>\n<p>During subsequent group analysis sessions (cf. Doehring et al. 2019, Appen et al. 2015) with three to four colleagues who came from our university workplace but not from this specific research context, we have analysed selected songs from our fieldwork. Instead of being a \u201cquest for one \u2018correct\u2019, \u2018inherent meaning\u2019 of an \u2018art\u2019 object\u201d, we see our analyses as a \u201cpractice of [a group of listeners engaging] with popular music in a historically and biographically specific way\u201d (Doehring and Ginkel 2019). Regardless of the intentions of the music makers, during our joint working process we have identified relevant affordances that make music connectable to right-wing populist issues and agendas.<\/p>\n<p>The third, additional step of our methodological approach takes us from these musical analyses back into the field, which establishes a reflexive moment in our research strategy as we use the field as a critical corrective. We have conducted qualitative group interviews with music listeners living in Austria, who discuss selected songs from our fieldwork in an open conversation with only few thematic guidelines. This step of our work highlights the role of musical meaning as something that is socially produced and negotiated.<\/p>\n<h4 id=\"3\">3. Case Study: \u201cHulapalu\u201d<\/h4>\n<p>In the summer of 2019, we attended the FP\u00d6\u2019s last campaign event for the European parliament elections at Viktor-Adler-Markt in the 10th district of Vienna, a marketplace in a quarter that is traditionally considered working-class and for some time has also been heavily populated and shaped by migrants from a wide variety of ethnic and social backgrounds. Back then, we recorded the following observations on site: The music is played by Carinthian cover band John Otti Band, which has established itself as the FP\u00d6\u2019s house band since the 1990s. The atmosphere in front of the stage on the market grounds is lively, as visitors (about 300 in total) are dancing, singing along and waving their arms. People are drinking beer served by the FP\u00d6 or eating snacks, heavy on meat, from one of the surrounding market stalls. It is in these surroundings that we first come upon \u201cHulapalu\u201d by Austrian pop star Andreas Gabalier (2015a) during our fieldwork, a song that was popular and widely known in the German-speaking countries at that time and continues to be.<\/p>\n<p>In the following, we present impressions from field research and group analyses in a mixed mode. This corresponds to our interpretative approach, which integrates different types of data in the sense of grounded theory.<\/p>\n<h6 style=\"font-style: normal;\">3.1 Questioning the Public Persona<\/h6>\n<p>In a way, it is not surprising to us that we encounter a song by Gabalier at a FP\u00d6 rally. Gabalier\u2019s public persona has become a political issue time and again. He made anti-homosexual statements (cf. Vienna.at 2015) and defended FP\u00d6 leader Heinz-Christian Strache against media \u201cagitation\u201d (\u201cHetze\u201d, cf. <em>Heute<\/em> 2015), only to present himself, when confronted with such issues, as a victim of misinterpretation by left-liberal media (cf. Fluch 2020).<\/p>\n<p>During our research, \u201cHulapalu\u201d itself became the subject of political discussion when a local cover band performed the song at a Labour Day event of the Social Democrats (SP\u00d6) on May 1st in Graz. A local SP\u00d6 politician took to the stage to actively interrupt the band and reminded them of a supposed agreement not to perform any music by Gabalier (cf. <em>Kurier<\/em> 2019). The song, it appears, is not acceptable for the Social Democrats \u2013 but apparently it is for the FP\u00d6: the song offered the FP\u00d6 the opportunity to present itself as \u2018truly\u2019 tolerant.<\/p>\n<p>The academic literature and journalistic texts on music and populism have rarely occupied themselves with Gabalier\u2019s biggest hits and instead focused on album tracks as, for example, \u201cA Meinung haben\u201d (Gabalier 2015b). But why? Could it be that writers tend to mistrust the popular, thereby ignoring the choices of thousands of Gabalier\u2019s fans and rendering them invisible? Or has it been because a presumed populist \u2018message\u2019 is not easy enough to pin down in these best-selling songs? As we have written elsewhere (cf. Doehring and Ginkel 2022), this is too simple a picture of musical communication. Finally, it could also be the case that Gabalier\u2019s biggest hits are deemed negligible in light of his assumed political convictions that \u2018rub off\u2019 on them in a way not further elaborated and, after all, can be detected elsewhere (i.e. videos or record covers as mentioned above), more pointedly.<\/p>\n<p>To be clear: speculations about Gabalier\u2019s, or put correctly, his public persona\u2019s political convictions will not get us anywhere in terms of understanding his music\u2019s political potential, so we will not get involved in them. This public guessing game is a consequence of the persistent myth of the original \u2018true person\u2019 which is said to hide \u2018behind\u2019 the music. However, it falls short, as music creates meaning performatively in the here and now (cf. Frith 1996, 270). Thus, we need to address \u201cHulapalu\u201d both in terms of its <em>sound and structure<\/em> \u2013 in our group analysis we examine Gabalier\u2019s original studio recording \u2013 and <em>its performative contexts<\/em> and <em>reception<\/em>. The following section is based on a triangulation of different types of data (Flick 2018) from ethnography, group analysis, and group interviews.<\/p>\n<h6 style=\"font-style: normal;\">3.2 Introducing the Embodied Persona<\/h6>\n<p>Gabalier\u2019s music, which has risen to prominence since his first hit \u201cI sing a Liad f\u00fcr di\u201d (Gabalier 2010), has often been classified as folk-like schlager. The singer, however, brands it as \u201cVolks-Rock\u2019n\u2019Roll\u201d (the people\u2019s rock\u2019n\u2019roll). By modernizing the schlager genre through the rock\u2019n\u2019roll allusion and articulating it with the musical worlds of schlager and folk music through the prefixed \u201cVolks-\u201d, which could refer to either a national community or the broad mass in the sense of a mainstream, he thus has created a genre of his own that is occupied only by himself. \u201cVolks-Rock\u2019n\u2019Roll\u201d as a genre affords the constitution of \u201cthe people\u201d (Laclau 2005, 73), as we observed at Gabalier\u2019s concerts in 2019. There, most of his fans wear pseudo-traditional Austrian clothing (just like Gabalier himself who has introduced his own collection of Austrian garbs) and, as rock\u2019n\u2019roll fans in the field of folk-like schlager, they may feel nostalgic and modern at the same time.<\/p>\n<p>\u201cHulapalu\u201d is a three-minute moderately up-tempo song (125 bpm), written solely by Gabalier. It features a danceable four-to-the-floor beat for which electronic and acoustic drums have been layered, a prominent acoustic guitar, and synthesizers reminiscent of contemporary electronic dance music. The sound design implies neither rock nor folk music. Instead, it reminds us of the stylistic mixture characteristic of folk-like schlager. Our point of interest in the chosen example is that, analytically speaking, this very successful song \u2018in itself\u2019 does not seem to have much to offer at a first glance in terms of politics and populism. So, what is it all about?<\/p>\n<p>During our analysis, we refer to the song\u2019s intro, which can also be characterized as the first chorus, as the \u201cyodelling part\u201d, placing it within the genre of folk-like schlager. According to our participants, it is the sound of changing mid and close vowels (with the tongue moving between back and front of the mouth) in the initially static and then triadic melody that creates the association of yodelling, supported by the sound design that makes it sound as if it was sung in wide open spaces, like the mountains. Yet, Gabalier\u2019s \u201cHodiodioooodiooodieee\u201d is much too slow to pass for actual yodelling (let alone his vocal technique). Actually, it also reminds us of a stadium singalong. This, however, is not a flaw \u2013 on the contrary: it sets the barrier low for active participation, as the slowness allows many to \u201cyodel along\u201d who have not mastered the actual technique of yodelling.<\/p>\n<p>\u201cHulapalu\u201d consists of a memorable and in popular music well-known four-bar harmonic loop (A minor \/ F major\/ C major\/ G major). Hence the musical form is not established by harmonic variation, but by melodic means and, even more, through a strong and distinctive sound design, for example, closing or opening filters that mark the transition into the next part. Right at the beginning, the sound we hear is described by one participant of our group as \u201cvast\u201d or \u201cincredibly far-away\u201d (\u201cunheimlich weit\u201d), as when you are standing on top of the mountains. This effect of situating the listener during the first three seconds of the song is achieved by the heavy use of reverb.<\/p>\n<p>The protagonist\u2019s ongoing questioning \u2013 \u201cWas ist denn Hulapalu \/ Was g\u2018hert denn da dazu?\u201d (\u201cWhat is Hulapalu \/ What is it all about?\u201d<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a>) \u2013 creates a sense of interest and fascination that follows the principle of advertising. A word that we have not even known before (Hulapalu is in fact a neologism) suddenly catches our attention, wanting to be pleasurably explored<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a>, sung, and danced along to \u2013 at \u201c40 degrees [Celsius] on the dance floor\u201d (\u201c40 Grad am Dancefloor\u201d), i.e. in a crowded room full of people moved by music, where things get heated up.<\/p>\n<p>Thus, the song provides us with verbal <em>and<\/em> sonic clues concerning the places where it positions us as listeners and where one may find it in the field: during our analysis, we imagine ourselves in beer tents, or at apr\u00e8s-skiing parties, i.e. music venues that we associate with both the song\u2019s far-away sound and the folk-like schlager genre. These are all social places, connected to an Alpine area, where we can observe a certain sense of disinhibition (cf. Doehring and Ginkel 2022, 2023). In a group interview, Barbara, a professional singer in her mid-30s, tells us about a friend from the United States who visited the Oktoberfest in Munich and reported how excited he was about \u201cHulapalu\u201d because he found it to be an amazing song to sing along to.<\/p>\n<p>Irrespective of the language barrier, the song affords participation in certain spaces. In this sense, we do not hear an exclusionary song here, as one could expect from a far-right populist singer. On the contrary, at the singer\u2019s concert at Vienna\u2019s Ernst Happel Stadium (capacity for 50,000 visitors) in August 2019, we encounter numerous families, from grandparents to schoolchildren, who are all having a good time. In our group analysis, we explain this by means of the onomatopoeic playfulness of \u2018yodelling\u2019, the integrative guessing game, and the \u201cMe and you&#8230;\u201d lines from the lyrics, which seem suggestive but also remind us of an old children\u2019s song. In case of doubt, the lyrics retain an innocent tone, not least because one of the more suggestive lines (\u201cI und du, und nur der Mond schaut zu\u201d [\u201cme and you, only the moon watching us two\u201d]) quotes the famous German lullaby \u201cLa Le Lu (Nur der Mann im Mond schaut zu)\u201d, which achieved lasting fame in 1955 through the rendition of actor Heinz R\u00fchmann in the movie <em>Wenn der Vater mit dem Sohne<\/em>, where he sings it to his son, played by Oliver Grimm. In the early 1990s, the song was re-released in a contemporary dancefloor version by Cinematic. feat. Heinz R\u00fchmann &amp; Oliver Grimm (1993) as \u201cUnser Lied (La Le Lu)\u201d, which became a Top 10 hit in Austria, when Gabalier, born in 1984, was a kid. In June 2018, Gabalier performed \u201cHulapalu\u201d on the popular TV show <em>ZDF Fernsehgarten<\/em> together with a children\u2019s dance group.<\/p>\n<p>Despite this wide appeal of representing mostly unsuspicious \u2018family entertainment\u2019, Gabalier\u2019s public persona still concerns his audience. After a Gabalier concert at a stadium in Vienna, we witnessed a conversation on the underground train between two concertgoers. A woman in her late thirties, dressed in a Dirndl, who had come all the way from Germany with her husband and kids, starts a conversation with a local in his fifties. She asks the man something that seems to be bothering her: \u201cSo, is Andi a right-winger or not?\u201d (\u201cUnd, ist der Andi nun rechts oder nicht?\u201d). The man does not hesitate to reply: \u201cNo, he\u2019s just a nature boy!\u201d (\u201cNaa, der is a Naturbursche!\u201d).<\/p>\n<p>This field episode beautifully represents how his audiences navigate the potentially problematic political public persona of Gabalier by referencing nature as a supposedly apolitical sphere. This comparison, however, is by no means arbitrary, as it is based upon the exposure to sound. We argue that by means of his musical performance, Gabalier\u2019s public persona is being overruled by the <em>embodied<\/em> persona (cf. Moore 2005). The latter thus becomes our central research subject, not the public persona. The embodied persona is yielded in the musical performance by the specificity of Gabalier\u2019s voice as part of his both physical and imagined body, as well as the personic environment (Moore 2012, 186), in other words: the music as it is heard and understood, co-producing the persona and itself being co-produced by the persona. We hear the \u201cnature boy\u201d persona in Gabalier\u2019s singing. We also hear a singer who is serious, experienced in life, and authentic, as his voice conveys to us with full physical effort. By means of Philip Tagg\u2019s (2013, 254) <em>hypothetical substitution<\/em> we may sense how specific this persona is; imagine \u201cHulapalu\u201d being sung by someone else, such as Harry Styles or Prince. Even if they were dressed in pseudo-traditional costumes (the mind boggles), we would be dealing with a completely different song and attributions of the \u2018nature boy\u2019 would not work. In that case, the song would not be attractive for the FP\u00d6.<\/p>\n<p>The persona that appears in the moment of performance and reception (as opposed to a public persona based mainly on image and media discourse) is highly relevant here, as it matches expectations from the field. It embodies and mirrors values, body and gender ideals<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a>, or the praise of the rural way of life. This has been the case at FP\u00d6 rallies, such as the one we visited on Graz\u2019s main square in autumn 2021, where the John Otti Band relied heavily, more than in any other song from their set, on a loud playback from \u201cHulapalu\u201d to adequately perform the \u2018nature boy\u2019 persona. There, an \u201caudiencing\u201d (Born 2021) process occured when the song was announced as the \u201canthem of Styria\u201d by \u201cyour Andreas Gabalier\u201d: \u2018we\u2019 become part of \u2018the audience\u2019 through listening and dancing to \u201cHulapalu\u201d, i.e. the embodied practice of \u2018our\u2019 music.<\/p>\n<h4 id=\"4\">4. \u201cHulapalu\u201d: What It Is All About<\/h4>\n<p>Strictly speaking, \u201cHulapalu\u201d cannot be categorized as political music in the sense of having a clear political agenda, and it is sung by a singer who rejects the assumption that he is close to the Freedom Party. Still, it fits the FP\u00d6 rally remarkably well. This is the case, as we will argue in the final section of this chapter, because it provides the right offers for this specific situation, consisting of human and non-human actors (cf. Latour 2005) that need to be specified for each analysis of a popular music performance within political contexts.<\/p>\n<h6 style=\"font-style: normal;\">4.1 Music as a Vehicle for Populist Tropes<\/h6>\n<p>As we have come upon in the field, the image of the \u2018nature boy\u2019 is relevant to our research far beyond the Gabalier case. The rejection of politics by means of referencing nature is in fact a common trope in our sample of more than 150 songs collected at rallies and beyond (cf. Doehring and Ginkel 2022). It is related, for example, to the \u201cmountain farmer boys\u201d, who Carinthian pop star Melissa Naschenweng (2019) sings about in her hit song \u201cI steh auf Bergbauernbuam\u201d (\u201cI Like Mountain Farmer Boys\u201d), a song we also encountered at FP\u00d6 events. Here, the singer yearns for the confident, masculine, tractor-driving mountain farmers who \u2018still\u2019 know how to treat young women \u2018right\u2019. Naschenweng portrays these farmers as uncorrupted by urban fashion and lifestyles, such as, for instance, driving a Porsche Cayenne, a car mostly useless in the mountains. As listeners during our group analysis of \u201cI steh auf Bergbauernbuam\u201d, we found ourselves, again, in a musically constructed Alpine-rock reality in which indeed, to come back to Gabalier, heteronormativity prevails, mediated by traditional gender roles of active men and passive women.<\/p>\n<p>It is probably this aspect that prompted the Social Democrats in Graz to ban Gabalier\u2019s music as inappropriate, since, according to them, the Labour Day celebration stands for women\u2019s rights and gender equality (cf. <em>Heute<\/em> 2019). This is quite remarkable, because the lyrics of \u201cHulapalu\u201d are not very supportive of this interpretation: Gabalier wrote them in the most open manner and, though in typically suggestive folk-like schlager style, they do not provide us with any clear sexist messages; not even the gender of the lyrical \u201cyou\u201d is addressed unequivocally (cf. footnote 6).<\/p>\n<p>We argue that \u201cHulapalu\u201d unfolds its politicity (Doehring and Ginkel 2022), i.e. its potential to stir or impact political discourse, in a situational setting and through the embodiment of sound during the performance. It is a specific embodiment of gendered roles and bodily ideals that are both specific and open enough to be connectable to far-right populist tropes: within this event, \u201cHulapalu\u201d can serve the FP\u00d6 as a vehicle to attach such tropes to the event as, for example, \u2018our women\u2019 are being endangered by male refugees. In comparison, when we return to the Labour Day rally as an <em>ex negativo<\/em> example, we understand how important this politicity may become when, as we suggest in the following, the material setting at the SP\u00d6 event \u2013 a cover band in a party tent situation \u2013 invites \u2018wrong\u2019 embodiments of the \u2018wrong\u2019 music.<\/p>\n<h6 style=\"font-style: normal;\">4.2 Assemblies and Their Material Settings<\/h6>\n<p>According to Theodore Schatzki (2002), the \u201csite of the social\u201d is made up by bundles of practices and material arrangements. The latter play a compelling role at many FP\u00d6 rallies, where beer banks are set up that force visitors into contact with their neighbours. In the mode of the beer tent (cf. Doehring and Ginkel 2023), people are aggregated, and music is an important part in this due to its flexible roles: it potentially enables or actually activates listeners to embody \u201cHulapalu\u201d, even if the song \u2018just\u2019 entertains the audience \u2018in the background\u2019. We thus become part of a bigger group, we constitute the audience. Judith Butler (2016, 29), in her notes on a performative theory of assembly, explains that such fleeting moments of the assembly of people constitute unforeseen forms of political performativity. \u201cThe people\u201d \u2013 written by Butler in inverted commas \u2013 is thus not only what is produced through words, but centrally through infrastructural conditions of enactment, for which she explicitly highlights the visual and the acoustic aspects. Here, assembly, sound, and material space are mutually dependent \u2013 and, hence, impact the politicity arising from this assemblage.<\/p>\n<p>In these settings, the FP\u00d6 appears friendly, down to earth, approachable, and close to the people. Here, inclusion is key; exclusion of groups like, for example, migrants (typical of far-right politics) does not play the initial role in forming a sense of togetherness. Rather, a group, \u201cthe people\u201d, is created in a positive way through popular music: a group of a \u201cwe\u201d that is pleasant \u2013 and if we do not belong to it yet, this activating, inviting music allows us to playfully feel what it is like to belong to this \u201cwe\u201d as the bodily participation draws us in. This \u201cwe\u201d is distinctively Austrian and rural. In Austria, the urban-rural divide is historically strong and linked to ideas of different lifestyles (cf. Walln\u00f6fer 2019, 65\u201366).<\/p>\n<p>In an example from a group interview we can understand how music establishes spaces where we wish to be \u2013 or where we do not feel welcome at all. Stefan, in his mid-30s, a medical doctor by profession, tells us what he thinks of \u201cI steh auf Bergbauernbuam\u201d, the Naschenweng song mentioned before. Stefan came to Austria from Croatia with his parents when he was a toddler and has been living in Austrian cities ever since. He says that the song immediately triggered a feeling of opposition in him because his \u201croots\u201d are somewhere else, geographically and in terms of identity. He highlights how the music appears to address a group of insiders only, based on national identity or origin. Those who feel different from this, like Stefan, are implicitly excluded. They also do not feel the need to belong.<\/p>\n<h6 style=\"font-style: normal;\">4.3 Observation through Co-Presence in Relevant Spaces<\/h6>\n<p>In sum, from examples like these, we come to understand how popular music creates boundaries of inclusion via musical sound and embodied personas. In music, something can be communicated through sound and embodied personas that is \u2018in between the lines\u2019, so to speak. Theses affordances, then, may be amplified by a certain material setting. By means of specific popular musics, the FP\u00d6 creates spaces where the \u2018right\u2019 people feel invited and others uninvited.<\/p>\n<p>It is up to us as researchers to listen more closely (<em>group analysis<\/em>), to participate in relevant situations (<em>ethnographic fieldwork<\/em>) and address the music\u2019s reception (<em>interviews<\/em>) in a way that remains open to new impressions instead of approaching the field with normative categories. This has been a challenge that we have taken up with critical self-reflexion. We are not particularly close to this music in terms of our own musical tastes, and we find the politics of these events and their social dynamics disturbing. However, it is essential to address practices based on spatial co-presence with these actors. Here in the field, we experience how the music, in combination with the material setting and its typical modes of disinhibition, creates \u201cus\u201d and \u201cthem\u201d, an antagonism with populist political potential (Mudde and Kaltwasser 2017, 5\u20136).<\/p>\n<p>In its embodied performativity, the music here is activating and assembling in a political sense. It is derived from a specifically Austrian mainstream and has served to place the FP\u00d6 in the political mainstream. In the right setting, the music creates the sonic environment for drastic political statements. What would be immediately exposed as right-wing extremist in a different assemblage appears far more innocuous here. In socio-spatial terms, a disinhibited mode of the beer tent is activated where \u201cwe\u201d, insofar as we belong to this group, are amongst \u201cus\u201d and therefore don\u2019t have to mince our words, so to speak. The political disinhibition is connected to the mode of cheerful, party-like disinhibition. In assemblages such as these, it does not matter what political conviction musicians like Gabalier have. It is the affordance of their situative, collectively produced, embodied personas brought forth by the sound that renders their music politically applicable and useful in far-right contexts. This affordance is what \u201cHulapalu\u201d is all about.<\/p>\n<h4>Endnotes<\/h4>\n<hr>\n<ol>\n<li id=\"fn1\">\n<p>We would like to thank the Volkswagen Foundation for funding our research, as part of the international project \u201cPopular Music and the Rise of Populism in Europe\u201d (2019-2022). We also thank our colleagues from the project for constructive criticism, as well as Lawrence Davies, Eva Krisper, Lukas Proyer, and Philipp Schmickl for participating in our group analysis sessions. Their analytical work has been a valuable contribution to our research.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Our theoretical understanding of populism follows Benjamin Moffitt\u2019s (2016) discoursive-performative approach, where populism is understood as a political style that is being reproduced through its performative aspects. This approach is differentiated from an understanding of populism as an ideology.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Our own translation.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Gabalier himself has fun asking passers-by for Cologne tabloid <em>Express<\/em> what \u2018Hulapalu\u2019 could mean. The answers are varied: it could be an oriental neck massage, or a word for animating children to sing along; a sexual meaning is also attributed to the word. Adhering to pop\u2019s golden rule, Gabalier ultimately leaves the \u2018true\u2019 meaning open (<em>Express<\/em> 2017).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Gabalier\u2019s songs often have a nostalgic thread of the \u2018good old times\u2019, its customs and food (cf. Botsch 2020). The singer\u2019s embodied persona says something about strong men and affords ideas of heteronormativity; however, it is also possible to queer Gabalier\u2019s persona and, suddenly, his well-toned body in tight leather pants also affords homosexual readings. Although the latter understanding is comparatively rare, we can state that, in any case, the persona speaks to a wide range of listeners.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"5\">References<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Appen, Ralf von, Andr\u00e9 Doehring, Dietrich Helms, and Allan F. Moore. 2015. \u201cIntroduction.\u201d In <em>Song Interpretation in 21st-Century Pop Music<\/em>, edited by Ralf von Appen, Andr\u00e9 Doehring, Dietrich Helms, and Allan F. Moore, 1-6. Farnham: Ashgate.<\/p>\n<p class=\"bibliography\">Balzer, Jens. 2019. <em>Pop und Populismus: \u00dcber Verantwortung in der Musik<\/em>. 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Bielefeld: transcript.<\/p>\n<p class=\"bibliography\">Express. 2017. \u201cK\u00f6ln-Besuch: Hier l\u00fcftet Gabalier sein Hulapalu-Geheimnis.\u201d <em>Express<\/em>, January 11, 2017. Accessed April 9, 2024. https:\/\/www.express.de\/promi-und-show\/andreas-gabalier-beim-koeln-besuch-hier-lueftet-er-sein-hulapalu-geheimnis-43479.<\/p>\n<p class=\"bibliography\">Flick, Uwe. 2018. <em>Doing Triangulation and Mixed Methods<\/em>. London: SAGE.<\/p>\n<p class=\"bibliography\">Fluch, Karl. 2020. \u201cAndreas Gabalier: \u2018Ich f\u00fchle mich beleidigt\u2019.\u201d <em>Der Standard<\/em>, December 20, 2020. Accessed April 9, 2024. https:\/\/www.derstandard.at\/story\/2000122543476\/andreas-gabalier-ich-fuehle-mich-beleidigt.<\/p>\n<p class=\"bibliography\">Frith, Simon. 1996. <em>Performing Rites: On the Value of Popular Music<\/em>. Harvard: Harvard University Press.<\/p>\n<p class=\"bibliography\"><em>Heute<\/em>, 2015. \u201cAndreas Gabalier beklagt Hetze gegen Strache.\u201d <em>Heute<\/em>, October 5, 2015. https:\/\/www.heute.at\/s\/andreas-gabalier-beklagt-hetze-gegen-strache-19429870.<\/p>\n<p class=\"bibliography\"><em>Heute,<\/em> 2019. \u201cGabalier-Verbot beim Maifest der Grazer SP\u00d6.\u201d <em>Heute<\/em>, May 2, 2019. https:\/\/www.heute.at\/s\/gabalier-verbot-beim-maifest-der-grazer-spo-44043427.<\/p>\n<p class=\"bibliography\"><em>Kurier<\/em>, 2019. \u201cGrazer Maifeier: SP\u00d6 soll Gabalier-Lieder untersagt haben.\u201d <em>Kurier<\/em>, May 2, 2019. Accessed April 9, 2024. https:\/\/kurier.at\/chronik\/oesterreich\/grazer-maifeier-spoe-soll-gabalier-lieder-untersagt-haben\/400482592.<\/p>\n<p class=\"bibliography\">Laclau, Ernesto. 2005. <em>On Populist Reason<\/em>. New York\/London: Verso.<\/p>\n<p class=\"bibliography\">Latour, Bruno. 2005. <em>Reassembling the Social: An Introduction to Actor-Network-Theory<\/em>. Oxford: Oxford University Press.<\/p>\n<p class=\"bibliography\">Moffitt, Benjamin. 2016. <em>The Global Rise of Populism: Performance, Political Style, and Representation<\/em>. Stanford: Stanford University Press.<\/p>\n<p class=\"bibliography\">Moore, Allan F. 2005. \u201cThe Persona-Environment Relation in Recorded Song.\u201d <em>Music Theory Online<\/em> 11 (4). Accessed May 3, 2022. https:\/\/www.mtosmt.org\/issues\/mto.05.11.4\/mto.05.11.4.moore.html.<\/p>\n<p class=\"bibliography\">Moore, Allan F. 2012. <em>Song Means: Analysing and Interpreting Recorded Popular Song<\/em>. London: Routledge.<\/p>\n<p class=\"bibliography\">Mudde, Cas. 2019. <em>The Far Right Today<\/em>. Cambridge: Polity.<\/p>\n<p class=\"bibliography\">Mudde, Cas, and Crist\u00f3bal Rovira Kaltwasser. 2017. <em>Populism. A Very Short Introduction<\/em>. Oxford: Oxford University Press.<\/p>\n<p class=\"bibliography\">Pelinka, Anton. 2005. \u201cRight-Wing Populism Plus \u2018X\u2019: The Austrian Freedom Party (FP\u00d6).\u201d In <em>Challenges to Consensual Politics: Democracy, Identity, and Populist Protest in the Alpine Region<\/em>, edited by Daniele Caramani and Yves M\u00e9ny, 131-145. Bern: Peter Lang.<\/p>\n<p class=\"bibliography\">Schatzki, Theodore R. 2002. <em>The Site of the Social: A Philosophical Account of the Constitution of Social Life and Change<\/em>. University Park: Pennsylvania State University Press.<\/p>\n<p class=\"bibliography\">Tagg, Philip. 2013. <em>Music\u2019s Meanings. A Modern Musicology for Non-Musos<\/em>. New York\/Huddersfield: The Mass Media Music Scholars\u2019 Press.<\/p>\n<p class=\"bibliography\">Vienna.at. 2015. \u201cAndreas Gabalier: \u2018Als Manderl noch auf Weiberl stehen\u2019.\u201d <em>Vienna.at<\/em>, March 30, 2015. Accessed April 9, 2024. https:\/\/www.vienna.at\/andreas-gabalier-als-manderl-noch-auf-weiberl-stehen\/4282429.<\/p>\n<p class=\"bibliography\">Walln\u00f6fer, Elsbeth. 2019. <em>Heimat. Ein Vorschlag zur G\u00fcte<\/em>. Innsbruck\/Vienna: Haymon.<\/p>\n<h4 id=\"6\">Discography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Cinematic feat. Heinz R\u00fchmann &amp; Oliver Grimm. 1993. \u201cUnser Lied (La Le Lu).\u201d Hansa, 74321 14746 2.<\/p>\n<p class=\"bibliography\">Gabalier, Andreas. 2010. \u201cI sing a Liad f\u00fcr di.\u201d Album: <em>Herzwerk<\/em>. Koch International, 06025 2741032 6.<\/p>\n<p class=\"bibliography\">Gabalier, Andreas. 2015a. \u201cHulapalu.\u201d Album: <em>Mountain Man<\/em>. Stall Records\/Universal, 06025 4728410.<\/p>\n<p class=\"bibliography\">Gabalier, Andreas. 2015b. \u201cA Meinung haben.\u201d Album: <em>Mountain Man<\/em>. Stall Records\/Universal, 06025 4728410.<\/p>\n<p class=\"bibliography\">Naschenweng, Melissa. 2019. \u201cI steh auf Bergbauernbuam.\u201d Album: <em>Wirbelwind<\/em>. Ariola, 19075850962.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Embodied Performativity in the Relationship between Popular Music and\u00a0Populism in Austria Andr\u00e9 Doehring , Kai Ginkel 1. 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