music and social movements
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Music and Social Movements. Andrew Jamison. Based on: Music and Social Movements, by Ron Eyerman and Andrew Jamison Cambridge University Press, 1998. A Cognitive Approach to Social Movements. movements as spaces for collective creativity where culture and politics can blend together - PowerPoint PPT PresentationTRANSCRIPT
Music and Social Music and Social MovementsMovements
Andrew Jamison
Based on:
Music and Social Movements, byRon Eyerman and Andrew JamisonCambridge University Press, 1998
movements as spaces for collective creativity
where culture and politics can blend together
helping to form new ”structures of feeling”
songs provide a shared, or collective memory
A Cognitive Approach to Social Movements
The Mobilization of Tradition
”movement artists” combine musical genres
a kind of hybridization process
leading to new forms of music-making
as well as changes in cultural values
On Movements and Music
From slavery to civil rights• the movements of black music
From populism to the folk revival• the making of an alternative culture
The movements of the sixties • the making of global popular music
The Movements of Black Music
The spirituals as a source of identity
The ”New Negro” movement: Paul Robeson
The emergence of jazz and blues
The songs of the Civil Rights movement
From the Sorrow Songs...
”They that walked in darkness sang songs in
the olden days – Sorrow Songs – for they
were weary at heart...”
W.E.B. DuBois, The Souls of Black Folk, 1903
Shout All Over God’s Heaven (1926)
Water Boy (1926)
Paul Robeson (1898-1976)Singer, actor, political activist
From the country blues...
Robert Johnson, 1911-1938
Cross Road Blues
We Will Overcome (1950)We Shall Overcome (1963)
...to the Civil Rights Movement
The Making of an Alternative Culture
Populism and the labor movement
The popular front and the second world war
The popularization of folk music in the 1950s
The ”folk revival” of the 1960s
Joe Hill, by Phil Ochs (1964)
The IWW, or the Wobblies(Industrial Workers of the World)
A pamphlet, no matter how good, is never read but once, but a song is learned by heart and repeated over and over... Joe Hill, 1914
The people is a myth, an abstraction.And what myth would you put in place of the people?And what abstraction would you exchange for this one?And when has creative man not toiled deep in myth?
from The People, Yes
The Boll Weevil (1926)
Carl Sandburg (1878-1967)Poet and collector
Woody Guthrie and Leadbelly:The Makers of a Tradition
This Land is Your Land (1940)
The Almanac Singers
House of the Rising Sun (1941)
Goodnight Irene (The Weavers,1955)
The Weavers and Pete Seeger: keeping the traditions alive in the 1950s
The Folk Revival:”Woody’s Children”
Where Have All the Flowers Gone (Joan Baez, 1962)Thirsty Boots (Eric Andersen,1964)
...and the folk revival of the sixties
Only a Pawn in Their Game (Bob Dylan, 1963)
”I Have a Dream”:The Movements Meet
Joan Baez and Bob Dylan at the March on Washington, 1963
Movements of the Sixties
Bob Dylan: from folk to rock
Janis and Jimi: the appropriation of the blues
Phil Ochs: keeping the music political
Woodstock: the end of the beginning
Blowin’ in the Wind (1963)Like a Rolling Stone (1965)
Bob Dylan, from movement artist to cultural icon
Summertime, from Porgy and Bess, performed by Janis Joplin, 1968
The cultural appropriation of the blues
There But For Fortune (1964)
Phil Ochs, 1941-1975
We’re trying to crystallize the thoughts of young people who have stopped accepting things the way they are.
Phil Ochs, 1964
When I’m Gone, sung by Eric Andersen, 1999
The Memory Lives On...
I Dreamed I Saw Joe Hill, by Earl Robinson, sung by Joan Baez at Woodstock, 1969