World Music Quiz JukeBox Index

INTRODUCTION Music has always been an integral part of formal displays of political power. It has traditionally conveyed both national identity and official ideologies through symbolic acts, such as the singing of a national anthem. Important to recognize the difference between open and coded political messages Musical displays of power, or public transcripts, often affirm and perpetuate an existing power structure. Hidden transcripts may be used to describe musical performances and repertories through metaphorical or coded terms. Music is crucial in understanding and interpreting how power is enforced as well as how it is challenged. Music can empower people within a particular setting while being used and transformed in very different contexts MUSICS OF POWER AND RESISTANCE Case Study: The Birth of a National Anthem Music can challenge inequitable power relations. Nkosi Sikel' iAfrika originated as a Christian hymn and was transformed into a musical emblem of political resistance. In the 1990s, it became a respected national anthem. Melody was composed by a choirmaster and teacher at a Methodist mission school near Johannesburg, South Africa. The text is sung in several different South African languages. Deeply influenced by Western music and harmony Became associated with the African National Congress (ANC) Nelson Mandela was its leader for much of the late twentieth century. ANC was banned by the South African government as subversive. With Mandela's release and subsequent presidency, the nation needed a new anthem. For a time, The Call of South Africa and Nkosi Sikelel' iAfrika were designated as dual national anthems Nkosi Sikelel' iAfrika was viewed as an anthem of freedom and independence throughout Africa. Became the official national anthem of countries such as Tanzania and Zambia South African government later approved a single, composite national anthem. Over the years, Nkosi Sikelel' iAfrika has continued to accrue multiple layers of meaning: As a Christian hymn As a song of resistance As an integral part of the new South African national anthem Case Study: Reggae Ras Tafari became Emperor Haile Selassie of Ethiopia in 1930. Became a widely known and compelling figure to many people of color in North America and the Caribbean His government's autonomy was challenged by the Italian invasion in 1935. Provided a symbol for the Rastafarian political/religious movement Became closely associated with the musical style known as reggae Rastafarian movement had its philosophical roots in the 1920s and the Back to Africa movement. Belief that a black king in Africa would mean deliverance for all black people Coronation of Ras Tafari as Haile Selassie was interpreted as the fulfillment of these prophecies. In the West Indies, an outcome of these events was the formation of groups supporting the Ethiopian emperor. Heralded the downfall of "Babylon," and an end to colonial rule Promised deliverance of oppressed blacks Rastafarianism provided fertile ground for the development of powerful rituals and symbols. Green, yellow, and red, the colors of the Ethiopian flag were adopted by Rastafarians. Dreadlock hairstyles Use of mind-altering substances At first, no single musical style was associated with Rastafarianism. By the early 1960s, a predecessor of reggae called ska was popular. Based on an indigenous Jamaican rhythm Ska was followed in the mid-1960s by rock steady. Slower tempo Texts discussed freedom and equality In 1968, reggae came on the scene Its name was taken from the song Do the Reggay. Defined early on as encompassing "poverty, suffering, Rastafari, everything in the ghetto." Regular Rhythm is essential to the Rastafarian reggae tradition: riddim. Some riddims are named, such as cordiroy (corduroy), bangara (from bhangra) , or diwali, (a Hindu festival). Reggae musicians have taken strong political stands through their music. Internationally, Bob Marley has become the musician most widely associated with reggae and other Jamaican musics. Reggae has maintained its status as music of political resistance through various transformations on the international stage. Reggae entered mass culture through recordings. Led an increasingly dual life as both a cult and commercial music The 1990s also saw the emergence of new kinds of localized reggae styles such as reggaeton. Case Study: The Shoshone Powwow The setting of Shoshone Indian Days The first Native American powwow was held in the late nineteenth century. Algonquian word pawwaw means "healing ceremony" By 1900, the word was applied to any type of Native American gathering. The modern intertribal powwow has its origins in 1920s Oklahoma. Large, intertribal powwows became increasingly widespread over the years. Today, the number of North American powwows is estimated at more than two thousand per year. The Eastern Shoshone Indian Days festival is part of the increasingly well-established "powwow circuit." The powwow takes place in the town of Fort Washakie, Wyoming. Wooden arbor is the focus of powwow activities. Center of arbor is reserved for dancers. During the evening hours, the powwow dance competitions are held. Participants come from throughout the West. Features multiple drum groups that take turns accompanying the dancers Competitive dances are usually divided into separate traditional and fancy styles. Fancy and Traditional War Dances for men Main difference between the styles is that there are added spins and twirls in the choreography of the Fancy War Dance. Women originally did not dance the War Dance, but they do today. The traditional dances have lost some of their popularity. Fancy War and Fancy Shawl Dances are popular with young people. Jingle Dress Dance is popular. The focus of most modern powwows is the dance competitions The Flag Song's sound and significance Every powwow begins with a "grand entry" Veterans carry in the American flag, the state flag, and banners of the Veterans of Foreign Wars. Flag presentation is accompanied the Flag Song. Solemn ceremony Shoshone repertory contains many Flag Songs. Native American flag ceremony replaces the national anthem with Native American song. New Flag Songs commemorate the different military conflicts in which Native Americans have served. Honoring warriors in song: the War Dance War Dance Songs make an overt political statement. Warrior-fighter has given way to the warrior-dancer. Present-day War Dances mimic traditional military movements. Motions sustain the War Dance's historical connections to the Wolf Dance. War Dance is also connected to nature. The War Dance Song is the centerpiece of the powwow. Shoshone singers often borrow songs from other groups. Sometime borrow from non-Native American sources The changing settings of powwow music The music of the powwow has also shifted to new settings. Half-time at football games Rodeos and other ceremonies Reaching new audiences through mass media American Indian Dance Theatre CONCLUSION

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