The protest song is a song associated with the movement for social change and hence part of a broader category of topical topics (or songs linked to current events). It may be folk, classical, or commercial in the genre.
Among the social movements with the associated tunnels are the elimination movement, the women's right to vote, the labor movement, the human rights movement, the civil rights, the anti-war and anti-culture movement of the 1960s, the feminist movement, the sexual revolution, gay rights movements, animal rights movements, vegetarianism and veganism, weapon control, and environmentalism.
Protest songs are often situational, associated with social movements through context. "Goodnight Irene", for example, earned the aura of a protest song because it was written by Lead Belly, a black prisoner and social outcast, though on her face it was a love song. Or they may be abstract, revealing, in more general terms, opposition to injustice and support for peace, or free thinking, but audiences usually know what is being referred. Beethoven "Ode to Joy", a song to support universal brotherhood, is a song of this kind. This is the setting of poetry by Schiller who celebrates the continuum of living things (united in their capacity to feel pain and pleasure and hence for empathy), to which Beethoven adds the line that all men are brothers. Songs that support the status quo do not qualify as a protest song.
The text of the protest song may have significant cognitive content. The musical movement Pins and Needles concludes the definition of a protest song in a number called "Sing Me an Important Social Song." Phil Ochs once explained, "The song of protest is a very specific song so you can not misunderstand for BS."
An example of the 18th century of a topical song intended as a feminist protest song is the "Women's Rights" (1795), sung for the song "God Save the King", anonymously written by "A Lady", and published in Philadelphia Minerva , October 17, 1795. There is no evidence that it was ever sung as a motion song. The latest song that advocates sexual liberation is "Sexo" (1985) by Los Prisioneros.
Video Protest song
Jenis
Sociologist R. Serge Denisoff sees the protest songs somewhat narrowly in terms of their function, as a form of persuasion or propaganda. Denisoff sees the tradition of protest songs as coming from "psalms" or songs of the Protestant religious revival movement, which also call these songs "propaganda".
Denisoff shares the protest songs as "magnetic" or "rhetorical". The "Magnetic" protest songs aim to attract people to the movement and promote group solidarity and commitment - for example, "Keep Your Eyes on the Gift" and "We Will Beat". Rhetorical "rhetorical" songs, on the other hand, are often characterized by individual anger and offer a direct political message designed to change political opinion. Denisoff argues that although "rhetorical" songs are often not openly associated with building larger movements, they should still be considered "propaganda-protests". Examples include "Masters of War" Bob Dylan (which contains the phrase "I hope you die/And your death will come soon") and "What's Going On" by Marvin Gaye.
Ron Eyerman and Andrew Jamison, in the Movement of Music and Social: Mobilizing Tradition in the 20th Century (1998), takes issue with what they consider Denisoff's reductive approach to the history and function of songs (and especially traditional songs ) in social movements. They point out that Denisoff paid little attention to the songs of protest music songs, assuming they were very subordinate to the text, a means for messaging. It is true that in the tradition of a highly text-oriented Western European song, the tone can be subordinate, interchangeable, and even limited in number (as in Portuguese fado , which has only 64 songs), however, Eyerman and Jamison show that some of the most effective protest songs gain power through their appropriation of songs that are the bearers of a strong cultural tradition. They also note that:
There is more music and movement than can be captured in a functional perspective, such as Denisoff, which focuses on the use made of music in an already existing movement. Music, and songs, we suggest, can maintain a movement even when it no longer has a visible presence in the form of organization, leader, and demonstration, and can be a vital force in preparing for a new movement. Here the role and place of music need to be interpreted through a broader framework in which tradition and ritual are understood as a process of identity and identification, as collective and embodied forms and collective meanings.
Dr. Martin Luther King, Jr. describes the songs of freedom in this way: "They revive the movement in the most significant way [...] These freedom songs serve to provide unity for a movement."
Maps Protest song
By location
Algeria raÃÆ'¯ protest music
RaÃÆ'¯ (Arabic: "opinion" ??? ?) Is a form of folk music, originally from Oran, Algerian from the Bedouin shepherd, mixed with Spanish, Shape -the form of French, African and Arabic music, dating from the 1930s and especially developed by women in culture. RaÃÆ'¯ has banned music in Algeria, to the point that a famous singer was killed, although since the 1980s he has enjoyed some great successes. The song "Parisien Du Nord" by Cheb Mami is the latest example of how this genre has been used as a form of protest, as it was written in protest against racial tensions that sparked the 2005 French riots. According to Memi:
This is a song against racism, so I want to sing it with a North African born in France [...] Because of that and because of his talent, I chose K-Mel. In that song, we said, 'In your eyes, I feel like a stranger.' It's like children born in France but they have an Arabic face. They are French, and they must be considered French. "
Australia
Indigenous issues stand out in politically inspired Australian music and cover topics of land rights, and indigenous deaths in detention. One of the most prominent Australian bands to deal with this problem is Yothu Yindi. Other Australian bands have encountered indigenous issues including Tiddas, Kev Carmody, Archie Roach, Christine Anu, The Herd, Neil Murray, Blue King Brown, John Butler Trio, Midnight Oil, Warbid Band, Paul Kelly, Powderfinger and Xavier Rudd.
In addition to the Native issues, many Australian protest singers sang about the futility of war. Famous anti-war songs include "And The Band Played Waltzing Matilda" (1972) by Eric Bogle, and "A Walk in the Light Green" (1983) by Redgum, most often remembered by the chorus "I'm only nineteen year ". Belarus
The famous first Belorussian protest songs were created in the early 20th century during the rise of the Belarusian People's Republic and the war for independence from the Russian Empire and Soviet Russia. This period included protest songs such as "My Adventure My Spali" ("We've had enough sleep", also known as Belorussian Marselliese) and "Vaja? Ki Mar?" ("March of the Warriors"), which is the national anthem of the People's Republic of Belarus. The next period of protest songs was in the 1990s, with many created by bands such as NRM, Novaje Nieba and others, leading to an unspoken ban from these musicians. For example, Lavon Volski, NRM frontman, Mroja and Krambambulia, had problems with officials in most of his concerts due to criticism of Belarus's political system. One of Belarus's most famous bands, Lyapis Trubetskoy, was banned from appearing in the country for being critical of Aleksandr Lukashenka in the lyrics. This prohibition caused most of the "forbidden" bands to hold concerts in Vilnius, which, although located in modern Lithuania, is considered the capital of Belorussian history because less than a hundred years ago most of Vilnius's population (Vilnia, as mentioned earlier was given to Lithuania) are Belorussians. But by mid-2010, the situation began to change slightly and many protest bands started organizing concerts in Belarus.
English and Irish
Early English protest song
The English folk songs of the late medieval and early modern period reflect the social turmoil of their day. In 1944, the Marxist scholar A. L. Lloyd claimed that the song "The Cutty Wren" was a song encoded against feudal oppression and in fact came from a British peasant rebellion in 1381, making it the oldest remaining European protest. He gave no proof for his statement, however and no trace of the song had been discovered before the 18th century. Despite Lloyd's dubious claims about his origins, however, "Cutty Wren" was revived and used as a protest song in the rise of the 1950s, an example of the importance of context in determining what could be considered a protest song. In contrast, the poem, "When Adam excavated and Eve's span, which at that time was a man?", Proved to be originally derived from the Peasant Rebellion 1381, though none of the songs associated with it have survived. Ballads celebrating social bandits like Robin Hood, from the 14th century onwards, can be seen as an expression of a desire for social justice, although social criticism is implied and there is no open question about the status quo.
The era of civil war and religion in the 17th century in Britain led to militant militant and militant militant radical militants and ballads and hymns, such as, for example, "The Diggers' Song". with burning verse:
The Excavation Movement is crushed loudly, so it is not surprising that some of the protest songs associated with it survived. However, from approximately the same period, the songs that protest the war and the human suffering they experience are abundant, although the song generally does not explicitly condemn war or leaders who pay them. For example, "The Maunding Souldier" or "The Fruits of Warre is Beggery", is framed as a pleading plea from a paralyzed soldier from the Thirty Years' War. Such songs have been known, unequivocally, as a gesture of complaint rather than protest, as they do not offer solutions or guidance for rebellion against the status quo.
The rise of industrialization in the 18th and early 19th centuries was followed by a series of protest movements and corresponding increases in the number of songs and ballads of topical social protests. An important example is the 'Victory of General Ludd,' who built a fictitious persona for leaders suspected of the 19th century anti-tech Luddite movement in the fabric industry in the north central region, and which explicitly refers to the Robin Hood tradition.. The fascinating British folk hero enshrined in the song is Napoleon Bonaparte, the military character who most often becomes the subject of popular ballads, many of whom treat him as a common worker champion in songs such as "Bonny Bunch of Roses" and "Napoleon Dreams". As workers become more organized songs are used as national anthems and propaganda, for miners with songs such as "The Black Leg Miner", and for factory workers with songs like "The Factory Bell".
These industrial protest songs were largely ignored during the rise of the first English folk in the 19th and early 20th centuries, focusing on songs that had been collected in the rural areas where they were still sung and for music education. They were revived in 1960 and performed by figures such as A. L. Lloyd on his album The Iron Muse (1963). In the 1980s Chumbawamba anarchist rock band recorded several versions of traditional British protest songs as English Rebel Songs 1381-1914 .
See also
- Beef and Butt Beer
20th century
Colin Irwin, a journalist for The Guardian, believes the modern British protest movement began in 1958 when the Campaign for Nuclear Disarmament (CND) organized a 53-mile march from Trafalgar Square to Aldermaston, to protest British participation in the race weapons and latest testing against H-bomb. The protest "fired on young musicians to write new campaigns to debate cases against bombs and set up support along the way.Suddenly many of those who played skiffle played American songs changed direction and wrote vicious topical songs to support direct action. "A song composed for the parade," The H-Bomb's Thunder ", set the words of poetry by novelist John Brunner for the song" Lifeguard Miner ":
Folk singer Ewan MacColl is for some time one of the main musical figures of the British nuclear disarmament movement. A former actor agitprop and playwright. MacColl, a productive and committed songwriter left several years earlier, wrote "The Ballad of Ho Chi Minh" (1953), was released as a single on Topic Records, and "The Ballad of Stalin" (1954), commemorating the leader's death. No records have been reissued.
According to Irwin, MacColl, when interviewed at Daily Workers in 1958, stated that:
There are now more new songs written than at any other time in the last eighty years - young people find out for themselves that folk songs are tailor-made to express their thoughts and comments on contemporary topics, dreams and worries,
In 1965, cover of classic Donovan rock singer from "Soldier Universal" Buffy Sainte-Marie became a hit on the charts. His anti-Vietnam War song "The War Drags On" appeared in the same year. This is a common trend in popular music of the 1960s and 1970s. The romantic lyrics of pop songs in the 1950s gave way to the words of protest.
As their fame and prestige increased in the late 1960s, The Beatles - and John Lennon in particular - added their voices to the Anti-war. In the US documentary versus John Lennon, Tariq Ali links The Beatles' activism to the fact that, according to him, "The whole culture has been radicalized: [Lennon] is involved with the world, and the world has changed it." "Revolution" 1968, commemorating student rebellions around the world. In 1969, when Lennon and Yoko Ono married, they held a week-long "sleep for peace" at Amsterdam Hilton, attracting media coverage worldwide. At the second "Bed-in" in Montreal, in June 1969, they recorded "Give Peace a Chance" in their hotel room. The song was sung by more than half a million demonstrators in Washington, DC on the second day of Moratorium Vietnam on October 15, 1969. In 1972, Lennon's most controversial protest song was released, Some Time In New York City , the title entitled "Woman Is the Neger of the World", a phrase coined by Ono in the late 1960s to protest sexism, triggered a storm of controversy, and as a result received little broadcast and lots of bans. The Lennons went to great lengths (including press conferences attended by staff from Jet
The 1970s saw a number of well-known songs by British actors protesting against wars, including "Peace Train" by Cat Stevens (1971), and "War Pigs" by Black Sabbath (1970). The Sabbaths also protest environmental destruction, describing the people who left the devastated Earth ("Into the Void" including, "Iron Man"). The Renaissance added political repression as a protest theme with "Mother Russia" based on One Day in the Life of Ivan Denisovich and joined on the second side of their 1974 album Card Substitution by two another protest song in "Cold Is Being" (about ecological destruction) and "Black Flame" (about the Vietnam War).
As 1970 progressed, the harsher and more aggressive Punk movement became the strongest protest vote, especially in Britain, featuring anti-war, anti-state, and anti-capitalist themes. The punk culture, in stark contrast to the sense of power of the 1960s through unity, selfishness with individual freedom, often combines the concepts of individualism, free thinking and even anarchism. According to Find and Destroy the founder of V.Vale, "Punk is a total cultural uprising.This is a hardcore confrontation with a black side of history and culture, right wing images, sexual taboos, digging that has never been done before by generations "The most significant protest songs of this movement include" God Save the Queen "(1977) by Sex Pistols," If the Kids are United "by Sham 69," Career Opportunity "(1977) ( protesting against the political and economic situation in Britain at that time, especially the lack of jobs available to youth), and "White Riot" (1977) (The Economics and Class Races) by The Clash, and "Right to Work" by Chelsea. See also Punk ideology.
War is still a common theme of British 1980s protest songs - such as "Army Dreamer" Kate Bush (1980), who deals with the trauma of a mother whose son died while fighting. However, as happened in the 1980s, British Prime Minister Margaret Thatcher was under the greatest criticism of indigenous singers, largely because of his strong stance against unions, and especially to deal with British labor strikes (1984-1985). The leading voice of protest at Britain's Thatcherite in the 1980s was Billy Bragg, whose song style as a protest song and grassroots social activism largely reminiscent of Woody Guthrie, but with themes relevant to contemporary Britons. He sums up his stance in "Between the Wars" (1985), where he sings: "I will give my consent to a government that does not deny a man with a decent wage."
Also in the 1980s the band Frankie Goes to Hollywood released a political protest pop song Two Tribe endlessly driven bass songs depicting the futility and starkness of nuclear weapons and the Cold War. The video for the song depicts the wrestling match between President Ronald Reagan and then Soviet leader Konstantin Chernenko for the benefit of group members and the globally vibrant councils of world countries, the event eventually turning into complete global meltdown. The video was played several times at the 1984 Democratic National Convention. Due to some violent scenes ("Reagan" biting "Chernenko" ears, etc.), unedited videos can not be shown on MTV, and the edited version is replaced. The single quickly reached the number one spot in the United Kingdom. Some mixed songs feature actor Patrick Allen, who recreates his narrative from the Protect and Survive public information film for a certain 12-inch mix (the original soundtrack Protect and Survive sampled for a 7-inch mix).
Another type of protest song that emerged in the late 1980s came in the form of "I'd rather Jack" by The Reynolds Girls. This is a protest against musical arrogance - especially those exhibited by middle-aged DJs who refuse to play new higher sales songs coming from labels like PWL that support older artists/important artists.
Irish rebel song
Irish rebel music is a subgenre of Irish folk music, played on typical Irish instruments (like Fiddle, tin whistle, Uilleann pipe, accordion, bodhrÃÆ'¡n, etc.) and acoustic guitar. The lyrics relate to the struggle for Irish freedom, the people involved in liberation movements, persecution and violence during the Northern Ireland Trouble and the history of the vast Irish uprising.
Among the many examples of genres, some of the most famous are "A Nation Once Again", "Earn Ye Black and Tans", "Erin go Bragh", "The Fields of Athenry", "The Men Behind the Wire" and the Republican National Anthem Ireland in Ireland "AmhrÃÆ'¡n na bhFiann" ("The Soldier's Song"). The music of this genre often invites controversy, and some of the more outward anti-English songs have been effectively banned from the airwaves in England and the Republic of Ireland.
Paul McCartney also contributed to this genre with his 1972 single "Give Ireland Back to the Irish", which he wrote in reaction to Bloody Sunday in Northern Ireland on January 30, 1972. The song also faces an all-out ban in Britain, re-released or appeared in one of Paul McCartney's best works or Wings. That same year former McCartney colleague John Lennon released two protest songs about Northern Ireland's war-torn hardship: "Sunday Bloody Sunday", written shortly after the 1972 massacre of Irish civil rights activists (which is different from the 1983 U2 song titled the same in this case directly supports the cause of the Republic of Ireland and does not call for peace), and "The Luck Of The Irish", both from his album Some Time in New York City (1972).
The Wolfe Tones have become legendary in Ireland for their contribution to the Irish rebel genre. The band has been recording since 1963 and has attracted worldwide fame and attention through their interpretation of traditional and original Irish songs, dealing with former conflicts in Northern Ireland. In 2002 the Wolfe Tones version of "A Nation Once Again", a 19th century nationalist song, was voted the greatest song in the world in a poll conducted by the BBC World Service.
Alternative Irish rock/post punk band from Dublin, U2 broke with rebel music traditions when in 1983 they wrote their song "Sunday Bloody Sunday". The song refers to two separate massacres in Irish civilian history by British troops - Bloody Sunday (1920) and Bloody Sunday 1972 - but, unlike other songs relating to those events, the lyrics call for peace as opposed to revenge.
The hit Cranberries "Zombie", written during their English tour in 1993, was to commemorate the two boys, Jonathan Ball and Tim Parry, who were killed in an IRA bombing at Warrington.
China
Cui Jian 1986's Chinese-Korean song "Nothing to My Name" is very popular amongst the Tiananmen Square protesters.
Estonian
Many of the songs performed in Estonia Laulupidu are protest songs, especially those written during the Singing Revolution. Due to the official position of the Soviet Union at the time, the lyrics were often satirical, rather than explicitly anti-Soviet, like the TÃÆ'Âμnis MÃÆ'¤gi Koit . On the contrary, Eestlane olen jest e eeslaseks jÃÆ'¤ÃÆ'¤n , sung by Ivo Linna and group In spe explicitly supports Estonian identity.
Finnish
Finland has a long tradition of socialist and communist protest songs that began in the years before the Finnish Civil War, most of which were imported and translated from Soviet Russia. Right wing protest songs are completely absent from the Estonian tradition and are widely considered socially unacceptable. In the 21st century the tradition of socialist protest songs was continued by rap artists and to a lesser extent in the more traditional form of Taistois by the KOM-theater choir.
French
"The Internationale" ("Internationale" in French) is a socialist, anarchist, communist, and social-democratic national anthem.
"The Internationale" became the anthem of international socialism. The original French detention was C'est la lutte finale/Groupons-nous et demain/L'Internationale/Sera le genre humain. (It is freely explained: "This is the last struggle/Let's join together and tomorrow/Internationale/Will be a human race.") "Internationale" has been translated into most languages ​​of the world. Traditionally sung with hands raised in god clenched. "The Internationale" is sung not only by communists but also (in many countries) by socialists or social democrats. The Chinese version is also a rally of students and workers at the Tiananmen Square protests of 1989.
There are not many trends in French protest, but rather the background of permanent criticism and contestation, and the people who vilify it. World War II and its horror forced French singers to think more critically about war in general, forcing them to question their government and the forces that govern their society.
Jazz trumpet and singer Boris Vian was one of the first to protest the Algerian war with its anti-war song "Le dÃÆ'Â © serteur" (The deserter), which was banned by the government.
Some French songwriters, such as LÃÆ'Â © o FerrÃÆ'Â © (1916-1993), Georges Brassens (1921-1981), Jacques Brel (1929-1978) (actually Belgian singer), Maxime Le Forestier (born 1949) or translator ( Yves Montand, Marcel Mouloudji, Serge Reggiani, Graeme Allwright...) often write or sing songs in harmony with the ideas of the majority and political power. Since racial tensions do not rise to the same level as in the United States, critics focus more on the bourgeoisie, power, religion, and songs that defend freedom of thought, speech, and action. After 1945, immigration became a source of inspiration for some singers: Pierre Perret (born 1934), famous for his humorous songs, began writing some "serious" and committed to racism ("Lily", 1977), which critically points to the behavior racist everyday in French society.
Brassens menulis beberapa lagu yang memprotes perang, kebencian, intoleransi ("The Two Uncles" [" The Two Uncles "]], "The War of 14-18" [" 14-18 War "]," Die Menuangkan of Ideas "[" To Die for Ideas "]" The Patriots "[" The Patriots "]......), melawan chauvinism ("The ballad of people who are born somewhere"), melawan borjuis ("The Bad Reputation" [" Reputasi buruknya "]," The Philistines "[" The Philistines "]......). Dia sering disebut "anarkis" karena lagu-lagunya tentang perwakilan hukum dan ketertiban (dan agama) ("The Gorilla" [" Gorila "] "HÃ © catombe" [" Slaughter "]" The Navel of the Agents' Wives "[" Pusar istri-istri polisi "]," The Semitic Mother "[" The bajingan "]...).
Ferrà © juda disebut "anarkis". Dia bernyanyi melawan konsumerism ("Showcases" [ "Shop Fronts" ], "Song canisÃÆ' © e" [ "Mechanized Song" ], "Il n ' there is nothing more "[" Tidak ada yang tersisa "]...), melawan perang Prancis (" Miss War Worship "[" Miss Squabble "], "Pacific blues", "Look at them" [ "Lihat mereka" ], "My General" [ "Jendralku" ], "The Times difficult "[" Hard Times "]," La Marseillaise "), hukuman mati (" Neither God nor Master "[" Tidak Ada Tuhan Tanpa Tuan "], "The Death of the Wolves" <<> "The Death of the Wolves" ]), Kontrol real estat ("The Gueuse", "The Lament of the TV" [ " Ratapan TV "", "The Revolution" [ "Revolusi" ], "The Conditional of Varieties" [ "Tengah suasana hati kondisional jalan "]), ilusi demokrasi perwakilan (" They voted "[" Mereka memilih "]," The Greaves "[" Strike "]), ke diktatoran ("Franco the muerte", "Allende", "The Kekerasan and the Ennui" [ "Kata... Kata... Kata... "]), kemunafikan seksual dan fr eedom ("The Dog" [ "Anjing" ], "The Evil" [ "Jahat" ], "Gaya Ton" [ "Gayamu" ], "The Damnation" [ "Damnation" ]...).
Brel's work is yet another freedom ("Ces gens-lÃÆ'" [" These people "], "Les Bourgeois" [" The Bourgeois "], "JaurÃÆ'¨ s "," Les Bigotes "," Le Colonel "[" Colonel "]," Le Caporal Casse-Pompon "[" Corporal Break-Nots ")).
German
Ton Steine ​​Scherben, one of the first and most influential German rock bands of the 1970s and early 1980s, is famous for the lyrics of a very political Vocalist Rio Reiser. The band became the musical mouthpiece of a new left movement, like a squatting movement, during that time in Germany and their hometown of West Berlin in particular. Their lyrics, initially, were anti-capitalist and anarchist, and the band had connections to members of the German Red Front Faction movement before they became illegal. Then the songs on more complex issues such as unemployment ("Mole Hill Rockers") or homosexuality ("Mama war so"). They also contributed to two full-length album concepts about homosexuality, released under the name Bru¼hharm (literally: boiling warm) in collaboration with the gay-revue group.
Disgruntled German youths in the late 1970s and early 1980s produced a series of highly politicized German Punkrock ("Deutschpunk"), mostly focused on the politically radical left-wing lyrics, largely influenced by the Cold War. Perhaps the most important German-language punk band is Slime from Hamburg, which is the first band whose LP is banned for political topics. Their songs "Deutschland" ("German"), "Bullenschweine", "Polizei SA/SS", and anti-imperialist "Yankees raus" ("Yankees out") are prohibited, some of them still prohibited today, spread the use of force against police or compare police with SA and SS Nazi Germany.
The Cologne-based rock group BAP is known for its committed and intelligent lyrics, dealing with discrimination and the power play of the German political elite in many of their songs. The song "Kristallnaach" (1982) is the point in the case. It analyzes the mass defilements of the masses for new forms of fascism, while referring to the "Glass Flower Night" that occurred in 1938.
In East Germany, protesting against the state is often prohibited. Nevertheless, Ermutigung's song by Wolf Biermann became a very popular protest song against the SPU government.
Hong Kong
Hong Kong's Beyond's rock band "Boundless Oceans Vast Skies" (1993) and "Glory Days" (????) (1990) have been regarded as a protest song in various social movements.
India
India provided many examples of protest songs throughout its struggle for freedom from Britain.
Israel
Israeli protest music is often associated with different political factions.
During the 1967 war, Naomi Shemer added a third verse to her song "Jerusalem of Gold", sung by Shuli Natan, about the reappointment of Jerusalem after 2,000 years. Later that year, a different point of view of the song was introduced by folk singer Meir Ariel, who recorded an anti-war version and named it "Iron Jerusalem".
Supporters of Gush Emunim have taken the repertoire of old religious songs and instilled them with political meaning. Examples are the song "Utsu Etsu VeTufar" (They give advice but their advice is violated). This song marks the highest truth of those who firmly believe in them, demonstrating the truth of Gush Emunim's struggle against anti-government policy by the government.
A few minutes before Prime Minister Yitzhak Rabin was assassinated at a political meeting in November 1995, Israeli folk singer Miri Aloni sang the Israeli pop song "Shir Lashalom" ("Song for Peace"). The song, originally written in 1969 and done extensively at the time by Israeli military show groups, has become one of the national anthems of the Israeli peace camp.
During the Arab uprising known as the First Intifada, Israeli singer Si Heyman sang "Yorim VeBokhim" ("Shoot and Cry") to protest Israeli policy in the region. Pink Floyd's "Another Brick in the Wall" was used as a protest song by some Israeli opponents of the West Bank barrier. The lyrics are tailored to: "We do not need work We do not need racist walls."
Since the start of the Oslo Process and, more recently, Israel's unilateral disarmament plan, the protest songs became the main avenue for opposition activists to express sentiment. Songs protesting this policy were written and performed by Israeli musicians such as Ariel Zilber, Aharon Razel, and others.
Latin America
Chile and Latin America protest music
While the protest song enjoyed the Golden Age in America in the 1960s, it also saw many critics abroad who saw it as being commercialized. Chilean singer and songwriter, VÃÆ'ctor Jara, who played a prominent role in the folkloric rise that led to the movement of Nueva CanciÃÆ'³n Chilena (The New Chili Song), which created a revolution in the country's popular music, criticized the phenomenon of the protest song commercialized "commercial" that has been imported into Chile. He criticized it thus:
Cultural invasions like shady trees that prevent us from seeing our own sun, sky, and stars. Therefore in order to see the sky above our heads, our task is to cut this tree at the root. US imperialism understands very well the magic of communication through music and continues to fill our youth with all kinds of commercial nonsense. With professional expertise they have taken certain steps: first, the commercialization of the so-called 'protest music'; secondly, the creation of 'idols' of protest music that obey the same rules and suffer the same obstacles as other idols of the consumer music industry - they persist for a while and then disappear. Meanwhile they are useful in neutralizing the spirit of rebellion of the young generation. The term 'protest song' is no longer valid because it is ambiguous and has been abused. I prefer the term 'revolutionary song'.
Nueva canciÃÆ'³n (literally "new song" in Spanish) is a type of social protest/song in Latin American music rooted in South America, especially Chile and other Andean countries, and gained extreme popularity throughout Latin America. It combines traditional Latin American folk idiom (played in quena, zampoÃÆ'  ± a, charango or cajÃÆ'³n with guitar accompaniment) with some popular rock music (mainly English), and is characterized by progressive lyrics and is often politicized. Sometimes considered a precursor to rock en espaà ± a ol. The lyrics are usually in Spanish, with some original or local words mixed.
Music protests Cuba and Puerto Rico
A type of Cuban and Puerto Rican protest music began in the mid-1960s when a Cuban music movement emerged that incorporated traditional folk music idiom with progressive lyrics and was often politicized. This protest music movement came to be known as "Nueva trova", and somewhat similar to Nueva canciÃÆ'³n, but with the benefit of support from the Cuban government, for promoting the Cuban Revolution - and thus part of the revolutionary song. Although originally and mostly Cuban, nueva trova has become popular in Latin America, especially in Puerto Rico and Venezuela. The movements of the greatest stars include Cuban Silvio RodrÃÆ'guez, Noel Nicola and Pablo MilanÃÆ' © s, as well as Puerto Rico as Roy Brown, Andrà ©  © s JimÃÆ' © nez, Antonio CabÃÆ'¡n Vale and the Haciendo Punto en Otro Son group.
Malaysia
Netherlands
In 1966 Boudewijn de Groot released "Welterusten meneer de president", a song about the Vietnam War. The song spent 12 weeks in the Top 40 of the Netherlands and to this day remains an important song in the nederpop and among the Dutch protest songs. Following "Welterusten meneer de president", Boudewijn de Groot and Lennaert Nijgh, a Dutch lyricist, made more protest songs. The couple inspired other Dutch musicians, Armand and Robert Long.
New Zealand
One of the earliest protest songs in New Zealand was John Hanlon's Damn the Dam, which was recorded in 1973 to support the Save Manapouri Campaign.
During a highly divisive Spring 1981 Tour, Blam Blam Blam Blam's No Depression in New Zealand became a favorite among anti-tour demonstrators. Reggae band Herbs wrote and performed songs criticizing French nuclear testing in the Pacific Ocean.
Palestinian Territories
Palestinian music (Arabic: ??????????????????????????? Israel, the longing for peace, and the love of the land of Palestine. of the song is "Biladi, Biladi" (My Country, My Country), which has become an official Palestinian anthem, Palestinian music rarely focuses on internal divisions (unlike most Israeli peace songs), and instead deals only with Israel, there are very few Palestinian peace songs that do not demand Israel, and are militaristic outwardly.Some commentators have compared this with the general Palestinian reluctance to talk about internal issues, as they tend to be taboo in Palestinian society, and disagreements are banned in Gaza, below Hamas control.
Another example is the song "Al-Quds (Jerusalem) Our Land", in words by Sharif Sabri. The song, sung by Amr Diab from Port Said, Egypt, won the first prize in 2003 in a contest in Egypt for a video clip produced in the West Bank and Gaza. DAM is an Arab hip-hop group, knocking in Arabic and Hebrew about the problems faced by Palestinians under occupation and calling for change. The song Kamilya Joubran "Ghareeba", a setting of poetry by Khalil Gibran, discusses the feelings of isolation and loneliness felt by Palestinian women.
Philippines
From Katipunan's revolutionary songs to songs sung by the New Peoples Army, Filipino protest music deals with poverty, oppression, as well as anti-imperialism and independence. A typical example is during the American era, such as Jose Corazon de Jesus created a famous protest song entitled "Bayan Ko", which called for redeeming the nation against oppression, especially colonialism, and also became popular as a song against the Marcos regime.
However, during the 1960s, Filipino protest music became aligned with the ideas of Communism as well as the revolution. The "Ang Linyang Masa" protest song comes from Mao Zedong and his Mass Line and "Papuri sa Pag-aaral " is from Bertolt Brecht. These songs, though Filipinos, rose to become another part of Filipino protest music known as Revolutionary songs that became popular during the protests and campaign struggles.
Portugal
The protest songs in Portugal are mostly associated with antifascist movements and are growing especially among students and activists. The most famous are the songs by Paulo de Carvalho and Zeca Afonso, respectively "E Depois do Adeus" (Dan After Goodbye) and "GrÃÆ'n ¢ ndola Vila Morena" (GrÃÆ'n ndola Swarthy Town). They were chosen as a code to begin the Carnation Carnation Revolution which would have won against the dictatorial regime. The first is written from the writer's letters, then struggling to defend the colony (a war against the public) sent to his wife. Therefore the title refers to his departure "goodbye" to war. Another song is very explicit about its purpose: " O Povo ÃÆ'  © quem mais ordena/dentro de ti oh cidade " (People are the ones who command most/in you oh city). "E Depois do Adeus" is vague enough to avoid censorship and pass as the "end of love" song, which also contributes to the broadcast sequence.
Of the two, Zeca Afonso is more productive and more identifiable with movement, so much so that one of his songs is the first choice for the code "Venham mais 5" (Let's come 5 more to come). Other artists also use some craft to hide their meaning in the song or go into seclusion. One example is Adriano Correia de Oliveira that covers explicit lyrics with a vocal tone making it difficult to distinguish critical verses, from restraint or even other verses. No other song notes more that the ballad "Trova do Vento que Passa", whose lyrics by author Manuel Alegre is a direct criticism of the country. The music is by AntÃÆ'³nio Portugal but Correia uses a typical Fado rhythm to hide provocative verses like "Mesmo na noite mais triste/em tempo de sevidÃÆ' Â £/hÃÆ'¡ semper alguÃÆ' Â © m que resiste/hÃÆ'¡ semper alguÃÆ' Â © m que diz nÃÆ' Â £ o "(even in the most miserable night/in slavery/there is always someone standing/there is always someone saying No).
Not only men but also women have active participation, albeit in fewer amounts. Emerlinda Duarte, one of the women, wrote the song "Somos Livres", for a 1972 theater drama titled Lisboa 72 , disguising the deep meaning with interesting children's music. Although the singing version is the most famous only recorded after the carnation revolution.
Many other songwriters and singers, to raise awareness, use their talents to act in all of Portugal, sometimes without pay or transportation. Fausto Bordalo Dias once sang with a very bad microphone made him need a plastic cup to work. Other singers include pastor Francisco Fanhais, author Jose Jorge Letria; Fernando Tordo; LuÃÆ's CÃÆ'lia; Amà ©  © lia Muge; Janita Salomà ©  ©; Manuel Freire; JosÃÆ' © Barata-Moura; poet Josà © Carlos Ary dos Santos; Jose Mario Branco and Sergio Godinho.
Polish
Polish protest songs were mostly associated with anti-communist movements and developed in the 1970s and 1980s. One of the most important artists is Jacek Kaczmarski, writer of famous songs such as "Mury" ("The Walls"), "Przedszkole" ("The Kindergarten") and "Zbroja" ("The Armor"), criticizing both the totalitarian. communist and opposition governments. Another famous Polish folk singer, Jan Pietrzak, wrote one of Poland's most famous Polish patriotic protests, "By Polska by? A Polsk?" ("Make Poland Polish"), where he reminds of the most heroic moments in Polish history, including the Koiuszko Rebellion, and called people against communists as they fought other Polish enemies before. He also recorded a musical version of the Jonasz Kofta poem "Pami? Tajcie o ogrodach" ("Remember the Garden"), protesting against the industrialism of life promoted by communist propaganda. Other Polish artists famous for writing protest songs including Stanis? Aw Staszewski and Przemys? Aw Gintrowski.
Russian
The most famous source of Russian musical protests in the 20th century are those who are known locally as poets. The term (???? in Russian) began to be used in the Soviet Union in the early 1960s, and continues to be used in Russia today, to refer to singer-songwriters who wrote songs outside of the Soviet establishment. Many of the most famous poets wrote many songs about the war, especially The Great Patriotic War (World War II). Bards have various reasons for writing and singing songs about war. Round Okudzhava, who really fought in the war, used his sad and emotional style to portray the futility of war in songs like "The Paper Soldier" ("??????????").
Many political songs were written by seducers under Soviet rule, and these genres ranged from very political, "anti-Soviet" songs, to the intelligent satire in Aesop's best tradition. Some of the songs of Bulat Okudzhava give examples of political songs written on these themes. Vladimir Vysotsky was considered a political songwriter, but later he gradually entered into a more mainstream culture. Not so with Alexander Galich, who was forced to emigrate - having recordings with his songs could mean a prison sentence in the Soviet Union. Prior to emigration, he suffered from KGB persecution, as did one of the other poets, Yuliy Kim. Others, such as Evgeny Kliachkin and Aleksander Dolsky, maintain a balance between anti-Soviet material and plain plain. The rhetoric of protest can also be traced in rock band works such as Grazhdanskaya Oborona, Naive, Tarakany !, Pilot, Noize MC, and Louna.
South Africa
Protest anti-apartheid protest
The majority of South African music protests in the 20th century were concerned with apartheid, a legalized racial segregation system in which blacks were stripped of their citizenship and rights from 1948 to 1994. As the apartheid regime forced the Africans into towns and centers - industrial centers, people singing about leaving their homes, the horrors of coal mines and degradation work as domestic helpers. Examples include "Meadowlands" by Benedict Dompet Vilakazi, the song "Toyi-toyi" and "Bring Him Back Home" (1987) by Hugh Masekela, who became the national anthem for the movement to free Nelson Mandela. The Special AKA wrote a song about Nelson Mandela called "Free Nelson Mandela". The trajectory is very cheerful and full of celebrations, drawing the influence of music from South Africa, very popular in Africa. Masekela's song "Soweto Blues", sung by his ex-wife, Miriam Makeba, is a blues/jazz song mourning the killing of the Soweto riots in 1976. Basil Coetzee and Abdullah Ibrahim's "Mannenberg" became the unofficial soundtrack against anti-apartheid resistance.
In Afrikaans, the Voile movement led by Johannes Kerkorrel, Koos Kombuis and Bernoldus Niemand in 1989, gave an opposition vote from within the white African community. These musicians attempted to redefine the identity of Afrikaners, and although meeting with the opposition from the authorities, VoÃÆ'ÂÂvry played for a large crowd on the university campus of Africa and quite popular among African Africans.
Post-apartheid
After the death of apartheid, most Afrikaan writers and musicians followed the public sentiment by embracing the new South Africa, but the rift soon appeared in the dreams of the "rainbow nation" and criticism began to emerge, a criticism that has grown in frequency and intensity in recent years. With violent crime placing South Africa in the top category of the world's most dangerous countries, poverty, government corruption, and the AIDS pandemic, writers and musicians, some of them veterans of the anti-apartheid movement, once again protesting what they consider to be a government that fails to uphold the promise of ' peace, democracy and freedom for all 'that Nelson Mandela did after he was released from prison. In 2000, Johannes Kerkorrel claimed in the song "Die stad bloei vanaand" [This city is bloody tonight]: "the dream was promised, but only other lies have been sold."
The two Afrikaans compilation albums of the protest-dominated music were recently released: Genoeg is a genoeg [Enough is enough] (2007) and Vaderland [Fatherland] (2008), and Koos Kombuis also released a CD titled Bloedrivier [Blood River] (2008), which is primarily a protest album. One song, "Waar is Mandela" [Where Mandela] asks, "Where is Mandela when the shadow descends [...] Where is the rainbow, where is that glory?" and others, "Die fokkol song" [The fuck all song], tells the tourists who visited South Africa for the 2010 Soccer World Cup that there is nothing in South Africa, no jobs, no gasoline, no electricity, not even joke. However, this compilation represents only the tip of the iceberg, as many prominent musicians have included protest songs on recent albums, including Bok van Blerk, Fokofpolisiekar, and KOBUS !.
The reality of New South Africa is clearly violent, and evil is a well-known theme in post-apartheid Afrikaans protest music. The punk group Fokofpolisiekar (which translates to "fuck off police car") sings "Brand Suid-Africa" ​​[Burn South Africa]: "For you, the dancers are lying in wait, in the garden outside your house," and Radio Suid-Africa sings in "Bid" [Pray]: "Pray that no one will wait in the garden, pray for strength and compassion in every dark day." They are a country of "murder and child rape" where the only respite is alcohol abuse. In "Blaas hom" by the Battery9 industrial band, the narrator sings how he happily dismantles his weapons to the thief after being robbed for the third time, and in "Siek bliksems" [Sick asshole] Kristoe Strauss asks God to help fight " sick bastard "in charge of piracy. Metal band KOBUS! pleading for the death penalty in "Doodstraf", as they feel the promise of peace has not been realized. In the "Reconciliation Day" Koos Kombuis sang: "Our streets are walking with blood, every funeral procession, they steal all our things, on the Day of Reconciliation." Elsewhere he states, "we are in a state of war." The video of this song features an unlawful microcosm of theft, rape, and harassment - a lawlessness reflected in "Sodom en Gomorra" Valiant Swart: "the two northern towns, without law, without rules, are too beautiful for words. " Hanru Niemand rewrote Afrikaans traditional song, Sarie Marais, turning it into a murder ball that speculates about where Sarie's body will be found. The new protest musicians also parodied the music of Johannes Kerkorrel's "Sit on af" - an allusion to PW Botha from the apartheid regime - changed to "Sit on aan" by Koos Kombuis, now a song that protests mismanagement that resulted in chronic power failure.
Most of the protests by African musicians concerning the heritage of apartheid: In "Blameer dit op apartheid" [Blaming apartheid] Koos Kombuis sang how "the whole country is evil," but the situation is blamed on apartheid. Klopjag, in "Ek sal nie langer" [I no longer] singing that they will no longer apologize for apartheid, a theme echoed by many others, including Koos Kombuis in "Hoe lank moet ons nog sorry sÃÆ'ª" [For how long we still have to apologize]. Piet Paraat sings in "Toema Jacob Zuma" [Do not think about Jacob Zuma]: "My whole life I was punished for my father's sins." There is also a different feeling that Afrikaner is being marginalized by the ANC government: Fokofpolisiekar sang "Antibiotics", "I'm just a tourist in my native country," Bok van Blerk sang in "Die kleur van my vel" the country does not want it despite its willingness to work, because he is white, and in "Bloekomboom" Rian Malan uses the gum metaphor of blue (alien species) to implore that Afrikaner should not be considered a settler but as a nation. Steve Hofmeyr has expressed his concern about the assassination of Afrikaner peasants who are statistically high, and has also made several speeches to remember the legacy of Afrikaner. His songs "Ons Sal Dit Oorleef" (We will survive) and "My Kreed" (My Cry) also echo many Afrikaner fears about losing their culture and rights. Applications by these musicians, and others, to be included following the exceptions manifested in the political, linguistic and economic sphere, are exceptions clearly illustrated by "Kaplyn" [cut line] by Bok van Blerk, a song that deplores that the African Army The fallen south has been removed at one of the country's memorials, the Freedom Park Memorial, although the official claim is a warning to all those who have fought for the country.
South Korea
Generally, the protest songs in South Korea are known as Minjung Gayo (Korean: ??? , literally "People's Songs"), and genre of protest songs called "Norae Undong", literally "Song Movement". It was awakened by people in the 1970s ~ 1980s to fight the military government of President Park Jeong-hee and Jeon Doo-hwan.
Taiwan
"Island's Sunrise" (Chinese: ????) is the theme song of the Sunflower 2014 Student Movement in Taiwan. Also, the theme song of the drama series Lan Ling Wang TV Into The Array Song (China: ???), sung by Mayday, revealed all the social and political controversies during Taiwan under president Ma Ying- jeou administration.
Thai
In Thailand, the protest songs are known as Phleng phuea chiwit (Thai: ??????????????????? ?????? [p? l?:? p ??? at ?:: wÃÆ't]; lit. "song for life"), a music genre dating from the 70s, by famous artists such as Caravan , Carabao, Pongthep Kradonchamnan and Pongsit Kamphee. Tunisia
Emel Mathlouthi composed songs since a young age calling for freedom and dignity in Tunisia ruled by dictator Zine El Abidine Ben Ali, gaining his scrutiny from internal security forces and forcing him to retreat to Paris. Banned from official airwaves, his protest song finds listeners in social media. In late 2010 and early 2011, Tunisian protesters referred to his song Kelmti Horra (my words are free) as a song from the Tunisian Revolution.
Turkish
The roots of rebel music/protests in Anatolia returned to the 16th century. The living assumptions of that era, such as the Sultan Abdal Pirada, Koroglu and Dadaloglu that lived in the 18th century are still inspiring. The tradition of rebellion has been going on for centuries and has given many songs to this geography culture. Messages in Turkish protest music have been opposed to inequality, lack of freedom, poverty, and freedom of expression. The lighter elements of this style are called progressive, while some die-hard protest musicians have been prosecuted, and sometimes persecuted, in twentieth-century Turkey. More than a few Turkish singers have been forced into exile, especially Cem Karaca, who then returns to Turkey during more free conditions and circumstances. Typically, Protest Music bands are a left band with large followers, especially in high schools and universities. Music is a cross between folk and rock and the lyrics are about freedom, oppression and rebellion, capitalism and oppression, and revolutions that never come. It is customary to say anti-American slogans here and there. The male singers always have what we call the Davidian voice (which means deep and hoarse a la Barry White) and the women usually sing gallantly with high notes.
United States
The Former Yugoslavia
Lazar Brcic Kostic is a former Yugoslavian protest-songwriter ( (in Serbian) link).
See also
- Civil Rights Song
- Sentimental ballad
- Reject Large
- Counterculture of the 1960s
- Folk music
- Punk people
- Anti-war song list
- List of peace activists
- Music and politics
- Nonviolent resistance
- Hip hop politics/Conscious
- Reggae (part of Lyrical Theme)
- Revolutionary song
- Topical tracks
- Wobblies
References
Further reading
- Fowke, Edith, and Joe Glazer. Working Songs and Protests . New York: Dover Publications, Inc., 1973.
- Denisoff, R. Serge. Sing Important Social Songs . Bowling Green: Bowling Green State University Popular Press, 1983.
- Ray Pratt. Rhythm and Resistance: Explorations in Popular Political Use of Music (Media and Community Groups) . Praeger, 1990.
- Ronald D. Cohen & amp; Dave Samuelson. Liner notes for Songs for Political Action . Bear Family Records, BCD 15 720 JL, 1996.
- Ron Eyerman and Andrew Jamison. The Music and Social Movement: Mobilizing Tradition in the 20th Century . Cambridge University Press, 1998.
- David Robb (ed.) "Protest Song in East and West Germany since the 1960s". Rochester, NY: Camden, 2007.
- Scaduto, Anthony. Bob Dylan . Helter Skelter, 2001 original 1972 reprint. ISBNÃ, 1-900924-23-4.
External links
- "Strange Fruit" - the history of protest music from PBS
- "Vietnam: Music protests", Steve Schifferes, BBC News, Sunday, May 1, 2005
- Labor and Folksongs Industry: A Select the Bibliography from the Library of Congress
- Protest Songs & amp; Lyrics of educational resources
Source of the article : Wikipedia
0 Comments