Autonomy, negotiation, and reenactment: the case of folk musicians playing in ‘medieval fairs’

This article explores the role of folk musicians in historical re-enactment events in Portugal, with a particular focus on medieval fairs. Building on a previous study (2000–2020) in which we examined these musicians’ practices and values regarding music publishing, promotion, and the viability of sustainable careers through autonomous—often described as DIY—modes of production, we now turn our attention to medieval fairs as a case study.Footnote1 Medieval fairs present a unique setting where folk musicians navigate processes of negotiation, compromise, and resilience, shaping both their musical practices and the professional conditions that structure their participation.Footnote2 Our analysis will address three key dimensions: first, the motivations driving musicians to perform at such events; second, their engagement with medieval music repertoires; and third, the contractual frameworks governing their involvement in these events. This discussion is situated within broader debates on autonomy and independence in 21st-century musical careers, with particular attention to the distinctive position of folk musicians in this context. We will engage in a critical and sustained dialogue with theories on art worlds and DIY music production, as explored in recent scholarship (a.o.). Additionally, we consider systemic perspectives that balance the musicians’ autonomy against the structural effects of capitalist cultural production.