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    Music and Social Movements

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    MessageDance
    This document discusses the relationship between music and social movements throughout history. It explores how music has helped form collective identities and cultural values within movements for black civil rights, labor, folk, and 1960s protests. Specific musical genres like spirituals, blues, folk, and rock are examined in the contexts of the movements that shaped and were shaped by them. The role of artists like Paul Robeson, Woody Guthrie, Bob Dylan, and Joan Baez in connecting music to politics is also summarized.

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    Music and Social Movements

    Uploaded by

    MessageDance
    159 views25 pages
    This document discusses the relationship between music and social movements throughout history. It explores how music has helped form collective identities and cultural values within movements for black civil rights, labor, folk, and 1960s protests. Specific musical genres like spirituals, blues, folk, and rock are examined in the contexts of the movements that shaped and were shaped by them. The role of artists like Paul Robeson, Woody Guthrie, Bob Dylan, and Joan Baez in connecting music to politics is also summarized.

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    This document discusses the relationship between music and social movements throughout history. It explores how music has helped form collective identities and cultural values within movements for black civil rights, labor, folk, and 1960s protests. Specific musical genres like spirituals, blues, folk, and rock are examined in the contexts of the movements that shaped and were shaped by them. The role of artists like Paul Robeson, Woody Guthrie, Bob Dylan, and Joan Baez in connecting music to politics is also summarized.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    159 views25 pages

    Music and Social Movements

    Uploaded by

    MessageDance
    This document discusses the relationship between music and social movements throughout history. It explores how music has helped form collective identities and cultural values within movements for black civil rights, labor, folk, and 1960s protests. Specific musical genres like spirituals, blues, folk, and rock are examined in the contexts of the movements that shaped and were shaped by them. The role of artists like Paul Robeson, Woody Guthrie, Bob Dylan, and Joan Baez in connecting music to politics is also summarized.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 25

    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

     helping to form new ”structures of feeling”

     songs provide a shared, or collective memory


    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
    Cross Road Blues

    Robert Johnson,
    1911-1938

    From the country 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 Boll Weevil (1926)

    Carl Sandburg
    (1878-1967)
    Poet and collector

    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


    This Land is Your Land (1940)

    Woody Guthrie and Leadbelly:


    The Makers of a Tradition
    House of the Rising Sun (1941)

    The Almanac
    Singers
    Goodnight Irene (The Weavers,1955)

    The Weavers and Pete Seeger:


    keeping the traditions alive in the 1950s
    Where Have All the Flowers Gone (Joan Baez, 1962)
    Thirsty Boots (Eric Andersen,1964)

    The Folk Revival:


    ”Woody’s Children”
    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

    ...and the folk revival of the sixties


    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

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