New OU research grant looks at music as cultural refuge in Northern Ireland

A new Open University (OU) research project, Music as Cultural Refuge, has been awarded £186,751 by the Arts & Humanities Research Council (AHRC) to explore how young people in Northern Ireland used music to navigate the emotional and social pressures of the Troubles — and what their experiences can teach us today, as the region continues to negotiate questions of identity, memory and belonging.

Why this research matters now

Northern Ireland is once again in a moment of cultural reflection. Conversations about identity, borders and community relations remain central to public life, while younger generations grapple with how to understand a conflict they did not personally experience but are aware of the effects. At the same time, there is growing recognition of the importance of mental health, youth voice and creative expression in shaping a more cohesive future.

Against this backdrop, Music as Cultural Refuge offers a timely opportunity to revisit the lived experiences of those who grew up during the Troubles — not through the lens of violence, but through the cultural practices that helped them cope, connect and imagine alternatives.

Recovering a hidden story of youth resilience

During the 30 year conflict, music was far more than entertainment. It was a lifeline.

Young people found refuge in punk gigs, record shops, bedroom mixtapes and the material culture that surrounded them — posters, badges, fanzines, vinyl, ticket stubs and treasured memorabilia. These objects became anchors of identity, creativity and cross community connection at a time when everyday life was shaped by fear and division.

Led by OU academic, Dr Lauren Alex O’Hagan, Research Fellow in the Faculty of Wellbeing, Education and Language Studies, the project will document these cultural memories through archival research and object based interviews with individuals who came of age during the Troubles. Their stories will help illuminate how music enabled young people to resist sectarian pressures, build resilience and carve out alternative identities.

Connecting past and present

The project arrives at a moment when Northern Ireland is actively re examining how the Troubles are remembered and taught. Recent public debates about legacy, commemoration and shared cultural heritage highlight the need for nuanced, people centred accounts of everyday life during the conflict.

By focusing on youth creativity, the project contributes to this wider conversation. It offers:

• intergenerational insight, helping young people today understand how previous generations coped with conflict
• new cultural heritage resources, supporting museums and community organisations as they develop exhibitions and educational programmes
• fresh perspectives for peacebuilding practitioners, who increasingly recognise the role of arts and culture in supporting wellbeing and social cohesion
• a platform for those who lived through the Troubles, enabling them to share their experiences in ways that feel meaningful and empowering.

Building a community of practice

Alongside its research, the project will establish a cross sector community of practice bringing together academics, heritage professionals, youth workers and community groups. This network will support ongoing initiatives that foreground creativity, cultural memory and youth voice in shaping Northern Ireland’s future.

Reflecting on the project’s significance, Dr O’Hagan explains: “For many, music was a powerful means of self-expression, enabling the formation of alternative identities and the development of cross-community connections. By documenting and preserving aspects of Northern Ireland’s music heritage, the project aims to advance understanding of cultural memory, peacebuilding and the arts in divided societies, while informing contemporary conversations about healing and reconciliation.”

As Northern Ireland continues to navigate questions of identity and legacy, Music as Cultural Refuge ensures that the creativity and resilience of its young people — past and present — remain central to the story.