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MUSIC FOR CHANGE RESOURCE ISSUE 11 In association with Supporting the United Nations Decade for Education for Sustainable Development (2005-2014) ISSN 1176-9467 Inside this issue 03 Get Up! Stand Up! 04 The Power of Song 06 Global Voices – Local Dissidence 08 Censorship, Corporations and Change 10 I Am Woman, Hear Me Roar! 12 Celebrity Showboys 14 Moerewa – A Case Study 16 Hip Hop Dreams 17 Save The Children 18 Take Action... ‘The Next’ 19 Useful Resources and Websites Global Education in the Community Starts from people’s experiences and encourages their personal, social and political development. Works on the principles of non-formal education and offers opportunities that are educative, participative, empowering and designed to promote equality of opportunity. Is based on an agenda that has been negotiated with the relevant community. Engages the community in critical analyses of local and global influences on their lives and their larger communities. Raises awareness of globalisation within an historic context, and encourages an understanding and appreciation of diversity locally and globally. Encourages an insight into the relationships and links between the personal, the local and the global and ensures that these are based on equity and justice. Insists that the peoples and organisations of the North and South are seen as equal partners for change in an interdependent world. Encourages active citizenship by giving people the opportunity to participate in actions, and build alliances, that seek to bring about change locally and globally. 02 Global Bits is printed three times a year providing information and ideas for exploring global issues and how they impact on communities in both Aotearoa New Zealand and all around the world. Its accompanying poster contains additional activities suitable for use by youth workers and other community educators. About the theme of this issue Ever since the first humans gave voice to their thoughts, they have used song to help make sense of the world and events unfolding around them. Protest songs form a central part of our global social commentary – whether railing at the horrors of war, the injustices of racism or the fallout of September 11th. The best music for change has the power to stir the heartstrings like no other medium – and provides a powerful rallying point for those who unite to fight for justice in an unjust world. With this spirit in mind, we are including a copy of our multi-media CD-Rom The Next – which contains research looking at Hip Hop culture from three perspectives, plus a substantial resource that provides a sound understanding of Hip Hop culture: how it empowers young and old alike, and how it can be used to engage people in an exploration of the world around them. Global Bits is free to community educators and all others with an interest in global issues. If you would like to order a larger amount This issue is produced in partnership with Save The Children – a nonpolitical, non-sectarian development agency that delivers immediate and lasting improvements to children’s lives worldwide. of any issue, please contact the Global Education Centre. Nominal charges may apply to help cover production costs. Acknowledgements and Special Thanks: Copyright@Global Education Centre 2007 Parts of this publication may be copied and distributed for education purposes on the condition that the source is acknowledged. No part of this publication may be reproduced, in any form, for commercial purposes without the prior permission of the Global Education Centre. Contact Us Global Education Centre, (GEC) Level 2, James Smith Building, 55 Cuba Street P.O. Box 12440, Wellington Aotearoa New Zealand Phone: 04 472 9549 Fax: 04 496 9599 Email: [email protected] www.globaled.org.nz Services offered by GEC Lending Library Publications Factsheets Resource Kits Training Workshops Writer: Mandy Hager Contributions: With special thanks to Save The Children; Sonya Hogan; New Internationalist Magazine; Ngahau Davis; Rock and Rap Archives; Stephen Smith-Said; Jim Lesses; Alexis Pretridis; Public Broadcasting Service; TakingItGlobal; Guardian Unlimited; The Next; Adam Ma’anit; FrontPage Publicity; PETA; Wikipedia; www.topptwins.co.nz; www.tutorgig.com; http://arts.guardian.co.uk; http:// folmusic.about.com; W. Shaw; Dr. K Zemke-White; Righteous Babe records Cover design: Richard Seyb Design: The Church Typesetting: Toolbox Imaging Printing: Theprintroom First published: March 2007 The views expressed by contributors to this magazine are not necessarily the views of the Global Education Centre. Copyright has been acknowledged where possible, and every attempt made to seek reproduction permission. If you have any concerns, please contact us. © Global Bits 2007 KEY CONCEPTS: Get Up! Stand Up! Historic Roots Music as Protest Since the early 20th century, musicians have come together in the name of “human rights to fight war, hunger, corruption, oppression, AIDS, apartheid, and “Chances are you’re likely Third World debt. From single songs passed by word of mouth to star-studded, to some, whoever and multimillion-dollar benefits, activists from Joe Hill to Bob Geldof have spoken up by wherever you might be!” to be tapping your toes singing out, drawing together disparate groups of people with unforgettable verse ” and universal harmony... www.pbs.org/getupstandup Five hundred years before the birth of Christ, the Confucian text Shi Jing recorded the existence of political songs that protested against heavy taxation. This should come as no surprise...ever since human beings placed meaning on the sounds they made, the first song makers forged songs to help make sense of the world around them. Throughout the centuries, music and song have continued to provide a framework for social commentary, whether it be in the form of monks in Tudor England slyly changing the words of Latin chants into coded protest, Verdi’s operas Nabucco and I Lombardi Alla Prima Crociata (from the 1840s) containing political overtones that were popular with an Italian audience whose country struggled for unification, or songs about war that are as old as war itself (such as the ancient Arrow Dance of the Navaho.) So when a song like Bob Marley’s Get up, Stand up hits the radio waves, it isn’t that the idea is new, or the lyrics and music completely novel – but the song’s simple, powerful words and urgent reggae beat make it a winner. It’s an anthem that rouses For instance, in Venezuela a state-backed national youth orchestra and choir has led to the strengthening of family and community bonds, and an opportunity for those at the lowest end of the economic ladder to experience the benefits of teamwork, dedication, discipline and success1a. And the aspirational opportunities Hip Hop provides for young people all around the world is further proof of the empowering magic of music. Meanwhile, songwriters Stephen Smith-Said and Billy Bragg, insist that “the modern “broadside”– the protest song that actually has political effect because of its timely ability to affect public opinion – is the free mp3 ...’ 2 people to consider a solution to their troubles, to get started on the road to freedom.1 However, it’s not just lyrics that can empower and inspire potential change-makers around the world. The mere act of making music has also been used as a pathway to positive change. So where is protest music to be found in today’s world? It’s everywhere! It’s in the schools, on your TV screens or Ipods, in your local clubs and street corners, on the Internet... and chances are you’re likely to be tapping your toes to some, whoever and wherever you might be! Music can form a vital service in a society with limited opportunities for social and economic advancement. FREEDOM OF EXPRESSION Music involves an infinite number of possibilities for human beings to express themselves. Lyrics can bring detailed messages of love, hate, fear, violence, etc. A melody in itself can communicate joy, hope, sorrow, a dramatic event, a special mood or a sound image of everyday life. All of these different expressions fall under the protection of the freedom of expression in the Universal Declaration of Human Rights Article 19. In a judgement from The European Court of Human Rights in1988, the Court observed that “Those who create, perform, distribute or exhibit works of art contribute to the exchange of ideas and opinions which is essential for a democratic society. Hence the obligation on the State not to encroach unduly on their freedom of expression”. 1 Ed Ward, Revolutionary Music: Get Up Stand Up, Educational Broadcasting Corporation, Inc. 2005 1a see http://www.iadb.org/idbamerica/Archive/stories/1998/eng/e398k.htm 2 Stephan Smith-Said, Why Neil Young Is Wrong, The Progressive, July 2006 Issue. Smith-Said is an Iraqi American songwriter whose single, “Another World Is Possible,” has been released for free at his website www.stephansmith.com. Other Sources: ‘Some Thoughts on Political Songwriting’, Jim Lesses; “So Colin Powell, What’s your favourite song?” Alexis Pretridis, The Guardian 19.07.2002 03 The Irrefutable Power of Song Truth Writer Victor Hugo once said “Music expresses that which cannot be put into words and that which cannot remain silent.” Music is never simply about noise: it is the sound of a society, of a time, of a place. It articulates the ideas and emotions that are too strong for words – and in the singer’s refusal to remain silent, music becomes the power to speak out and work for change. A Man’s a Man, Robert Burns Robert Burns, described as Scotland’s national poet, wrote this now famous expression of egalitarian ideas in 1795. It was sung at the opening of the Scottish Parliament on July 1 1999, and is sometimes associated with ideas of Scottish independence. That man to man the warld o’er, Shall brothers be for a’ that… Arise, Arise! Shake Off Your Chains! Some of the earliest protest songs acknowledged in the USA were by and about slaves. Many took the form of religious hymns (such as We Shall Be Free and Steal Away) but in 1813, a secret slave organisation in South Carolina began to open and close their meetings with this song. Arise, arise! Shake off your chains! Your cause is just, so Heaven ordains, To you shall freedom be proclaimed… The Internationale, Eugene Pottier L’Internationale is the most famous socialist song and one of the most widely recognised songs in the world. The original French words were written in 1870 by Eugène Pottier (later a member of the Paris Commune) and were originally intended to be sung to the tune of La Marseillaise. Pierre Degeyter set the poem to music in 1888 and his melody became widely used soon after. Arise ye workers [starvelings] from your slumbers, Arise ye prisoners of want, For reason in revolt now thunders, And at last ends the age of cant… The Suffrage Song, Julia Ward How Using the tune of ‘God Save The Queen’, this song was penned to highlight the women’s suffrage movement (to give women the vote). My country ‘tis for thee, To make your women free, 04 This is our plea. High have our hopes been raised, In these enlightened days, That for her justice, praised, Our land may be… Bread and Roses, James Oppenheim The 1890’s saw workers calling for unions and an improvement of workers rights and conditions, and protest movements worldwide took up this song as their anthem. It originated as a poem by James Oppenheim. As we go marching, marching, Unnumbered women dead, Go crying through our singing, Their ancient call for bread… Nkosi Sikele Africa, Enoch Sontonga (God Bless Africa) Sung for many years during the antiapartheid struggle, Nkosi Sikele Africa was written in 1897 and officially adopted by the African National Congress (anti-apartheid group and later a political movement) in 1925. When South Africa became a democracy in 1994, the song was adopted as the national anthem. Lord, bless Africa, May her spirit rise high up, Hear thou our prayers, Lord bless us… We Shall Overcome, Charles Tindley Quite possibly the most universally known anthem for protest, the lyrics were derived from Charles Tindley’s gospel song ‘I’ll Overcome Some Day’ (1900). We shall overcome, We shall overcome, We shall overcome some day, Oh, deep in my heart, I do believe, We shall overcome some day… The Preacher and the Slave, Joe Hill Joe Hill was one of the most influential protest singers in US history. Written in 1911, this song was an attack on the Salvation Army who, in Hill’s analysis, promised nothing more substantial than “pie in the sky when you die”. Workingmen of all countries, unite, Side by side we for freedom will fight, When the world and it’s wealth we have gained, To the grafters we’ll sing this refrain… Which Side Are You On? Florence Reece Written in the 1930s by an outraged miner’s wife, this song commemorates the workers of Harlan County, Kentucky, and the most drawn-out and bloody labour dispute in American history. It has since been rewritten by Billy Bragg among many others, and remains one of the alltime classic protest songs. Don’t scab for the bosses, Don’t listen to their lies, Us poor folks haven’t got a chance, Unless we organise… Strange Fruit, Abel Meeropol This powerful political song, most famously performed by Billie Holiday, condemns American racism, particularly the practice of lynching and burning African Americans that was prevalent in the South at the time. It was written by Abel Meeropol (a Jewish communist schoolteacher) and the “strange fruit” refer to the lynched victims of racism, hanging from trees across the American South. Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black body swinging in the Southern breeze, Strange fruit hanging from the poplar trees… Brother Can You Spare A Dime, Woody Guthrie One of the great political balladeers of all time, Guthrie worked his way across Depression-scarred USA and wrote his collection ‘Dust Bowl Ballads’ (1940). This song topped the music charts at the time, voicing the pain many people were facing. Guthrie’s son Arlo went on to write the classic 1960’s Alices Restaurant, a bitingly satirical, wryly deadpan protest against the Vietnam War draft and widespread anti-hippie prejudice. They used to tell me I was building a dream, With peace and glory ahead, Why should I be standing in line, Just waiting for bread… KEY CONCEPTS: Historical Overview Articulating Ideas Timeline Snapshots Say It Loud – I’m Black and I’m Proud, James Brown This 1968 recording is notable both as one of ‘The Godfather of Soul’s’ signature songs and one of the most popular “black power” anthems of the 1960s. Brown’s political involvement went way beyond songwriting: in 1965 he broadcast a televised concert in an effort to keep the public from rioting after the assassination of Malcolm X. Now we demand a chance to do things for ourself, We’re tired of beatin’ our head against the wall, And workin’ for someone else… Zanan Barpa (Arise Oh Women), RAWA This song is the anthem of RAWA, the Revolutionary Association of the Women of Afghanistan – despite music having been banned under the Taliban regime. RAWA was established in Kabul, Afghanistan, in 1977 as an independent political/social organisation of Afghan women fighting for human rights and for social justice in Afghanistan. Arise Oh women as a flood, Against the enemies, The flag of our freedom, With democracy as its emblem, Is shining like a burning sun, In this burnt land… Neutral and Nuclear Free, Shona Laing What Would You Do? Paris Outspoken rapper Paris wrote this track, taken from his album Sonic Jihad in response to September 11. I see a message from the government, like every day, I watch it, and listen, and call ‘em all suckas’, They warnin’ me about Osama or whatever, Picture me buyin’ this scam I said “never”… The Enron Song, The Fifth Amendments Bill Parsons and fellow musicians Eric Weinberg and Barry Gordemer penned this ditty after presidential pal and former Enron CEO Kenneth Lay “took the fifth” and refused to testify to Congress about his involvement in crooked energy company Enron. I bought it on a Monday, twenty bucks a share, The Enron-ron-ron, the Enron-ron, Now it’s down to twenty cents, and going south from there, The Enron-ron-ron, The Enron-ron… The Price Of Oil, Billy Bragg The USA’s 2001 ‘War On Terror’ and subsequent 2003 invasion of Iraq sparked large anti-war protests all around the world, and also saw a rash of new protest songs, both for and against the military action. Billy Bragg, in his 2002 song, expressed the thoughts of many who saw the conflict as closely linked to the fight for control of oil reserves. It’s all about the price of oil, don’t give me no shit, about blood, sweat, tears and toil, it’s all about the price of oil… Sources: From Music and Social Change TakingItGlobal www.takingitglobal.org; Guardian Unlimited, Rebel Songs; The Next, www.thenext.org.nz What other current musicians can you think of that fit into this category? What about musicians specific to Aotearoa New Zealand? What are some of the issues that are being voiced? Protests against the Vietnam War, the 1981 Springbok Tour, and nuclear ships visits (along with the growing Tino Rangatiratanga movement) gave many Mäori and Pakeha New Zealanders a new sense of independence and identity separate from our colonial past. I’m neutral and nuclear free, flicked the fear out of the family, got natural friends who are naturally, neutral and nuclear free… Fight The Power, Public Enemy One of the most important and successful African American political groups in the history of Hip Hop, Public Enemy set the standard for politically conscious rap lyrics that provided both a political commentary on American society and the world as a whole. Our freedom of speech is freedom or death, We got to fight the powers that be… 05 Global Voices – Local Dissidence Victor Jara Bullets of song Chilean folksinger Victor Jara saw the ‘guitar as gun’, firing off ‘bullets of song’ at oppressive military regimes and in support of popular struggles. Jara would play his songs about the plight of landless peasants and factory workers in shanty towns, community centers and street demonstrations. When Salvador Allende was elected in 1970, Jara and others joined him on stage under the banner which read: ‘There can be no revolution without song.’ After the military coup led by Augustus Pinochet on 11 September 1973, all music by these artists was declared subversive and possession of such recordings led to arrest. Jara was carried off to Santiago’s stadium where he was held with 5,000 other ‘subversives’. Recognised by the military officers, he was repeatedly beaten, electrocuted and tortured, resulting in the breaking of the bones in his hands and upper torso. Fellow political prisoners have testified that his captors mockingly suggested that he play guitar for them as he lay on the ground. Defiantly, he sang part of a song supporting the Popular Unity coalition. He was further beaten, before being machine-gunned to death on15 September at the age of 38. Miriam Makeba Mama Afrika As a girl in South Africa, Miriam Makeba worked as a domestic servant for white families. By her teens she had got involved in the progressive jazz scene and was pursuing a singing career. In 1960, while on tour in the US, Makeba was denied a visa to return home for her mother’s funeral. The white South African government then cancelled her citizenship to punish her for speaking out against apartheid at the United Nations. A defiant Makeba was thrust into the position of being black South Africa’s de facto ambassador to the Western world, where she earned the title ‘Mama Afrika’. Her call for an end to apartheid became increasingly powerful, particularly after the Sharpeville massacres, and her recordings were banned in South Africa. Her marriage to Black Panther leader Stokely Carmichael (Kwame Toure) led to harassment by FBI and CIA officials, the cancellation of concerts by tour promoters, and the couple were ultimately forced into exile in Guinea. Cui Jian , China s rebel maestro Trained as a classical musician – and former member of the Beijing Philharmonic Orchestra – Cui Jian is best known for his courageous, openly political music. While playing trumpet in the orchestra n the early 1980’s, he was smitten by Western rock-androll music smuggled into the country. Rejecting the syrupy ballads of mainstream Chinese pop, he became notorious for writing songs which dealt with controversial issues such as individualism and sexuality. His song, Nothing to My Name became a democracy movement anthem, sung by students during the Tiananmen Square uprising. More recently, Jian has incorporated rap styles into his music and started singing about money-culture and corruption. However, his album The Power of the Powerless also reflects hope for change. 06 Dalvanius Prime Maori King of Music Dalvanius (Maui Carlyle/Kararai) Prime (Paraima) started singing in dancehalls and maraes, and in 1969 he formed a band, The Fascinations, from members of his family. They won a radio talent contest and began touring Australasia. Dalvanius then began to write songs aimed at providing the Mäori community with its own pop idols and set up Maui Records, 'A Mäori Motown'. He set up the Patea Mäori Club, and their first single 'Poi-E' became New Zealand's biggest hit of 1984. With its Hip Hop beats and a video of local kids breakdancing around their marae, the song established a Polynesian Hip Hop scene that persists throughout the South Pacific. The Patea Mäori Club were a youth group drawn from the streets of Patea, a town devastated by the closure of its abattoirs. They toured the US and Britain in 1986, presenting 'Poi-E' as a fascinating blend of musical theatre and a socio-political statement as they sang the effect of unemployment upon their community. KEY CONCEPTS: Rebels and Freedom Fighters Dmitri Shostakovich Remitti hard-drinking diva In Algeria during the 1920’s, working-class Muslim women in the town of Oran rejected the prevailing values of men in power and combined street slang, French language, and popularist poetry known as chir al-milhûn, to form a music movement which came to be known as raē. A ra artist called Remitti drew scorn from the disapproving sheiks, fundamentalist mujahedin and ‘liberal’ French authorities, for her outlandish behaviour, lewd sex lyrics and her legendary drinking abilities. Peasants and workers, however, flocked to see her and her friends perform. When the mid-1950’s saw Algeria steeped in anti-colonial insurrection, Remitti and the ra revolutionaries added their repertoire of songs to the armed struggle. But even the post-independence socialist government reacted to raē by rounding up its musicians. Alcohol was banned, as were large raē concerts. However, a decade later, new musicians such as Cheb Khaled took up the mantle again, singing of injustice, poverty and corruption, making modern raē as relevant as it was in the 1920’s and presenting the single strongest cultural challenge to the fundamentalist Front Islamique du Salut. Coded subversion The prolific Soviet composer, who spent his most creative years under the thumb of Joseph Stalin, was at times so liked by the Government that he won two state prizes. However, cultural authorities were to deride his later works as ‘anti-Soviet’. Much has been made of his Anti-Formalist Rayok, which was widely seen to be a covert jeer at the expense of Stalin and his cronies. Characters in the piece mimic the speaking styles and wordy decrees of Stalin, his chief censor Andrei Zhdanov and others. In fact, fragments of Zhdanov’s infamous decree against Shostakovich’s ‘bourgeois’ music are embedded in the text. The composition of such subversive music, even privately, would have led to certain death had it been spotted. Shostakovich died from lung cancer in August 1975. Mercedes Sosa Voice of Latin America Though less of a songwriter, Mercedes Sosa has captivated millions with her powerful and emotional interpretations of others’ songs. Always deeply political, Sosa was one of the founders of the Nueva Canción (New Song) movement in Argentina. Together with Armando Tejado Gomez and others, she developed el nuevo canciónero – a musical manifesto that sought to respond to ‘new agreements and chords in the air’ and to preserve and rehabilitate indigenous music forms (she herself is half South American Indian.) Sosa has been referred to as ‘the voice of a continent’. She is unflinching in her active opposition to the Argentinean junta and her huge, rousing voice became a symbol of the struggle against oppression in Latin America. During a concert performance in 1978 Sosa and much of her audience were arrested by the Argentinean military and she was forced into exile. Doc Jazz The Musical Intifadah Labelling the Musical Intifadah movement ‘Music for Human Rights’, Palestinian artist and general surgeon Doc Jazz’s website states that it ‘opposes all types of racism, including anti-Semitism, Zionism, and other ideologies that uphold beliefs in either superiority or inferiority of other races.’ With his songs, Doc Jazz aims to present a viewpoint that differs from the usual perspective that people living in Europe, the United States, and many other parts of the world, are presented with through their regular news sources. “Palestinians who paid for its [Israel’s] creation with the total annihilation of their sovereignty are still alive today. Most of them live in refugee camps in the countries surrounding their homeland.” nds of Dissent nalist Issue 359 (Sou ; Wikipedia ls, New Internatio ://www.docjazz.com Sources: Music rebe ic) August 2003; http – the politics of mus 07 Future Shocks Louder than the bomb… ‘I only ask God not to make me indifferent to war. It is a great monster that tramples on the poor innocence of the people.’ (Argentinean rock musician Leon Gieco in his song, ‘Soló le Pido a Dios’). The so-called ‘War on Terrorism’ has provoked many fence sitters to take a stand and nowhere was this more apparent than in popular music. Some artists chimed-in to the pro-war choir. Paul McCartney indulged in patriotic chest thumping with his song ‘Freedom’, written about the attacks of September 11: ‘I will fight, For the right, To live in freedom…’ Other musicians, though, dared to speak out against the war. The STOP (Stop The Oppressive Politics) movement released their track ‘Down with US’, which railed against the Bush Administration’s penchant for warmongering rather than dealing with domestic crises. ‘When people all around us are starving and homeless, what is Bush focused on, must be his father’s old grudges.’ The Dope Poet Society’s song, ‘War of terrorism’, challenged the moral righteousness of the war and echoed many anti-war activists’ concerns that far more insidious motives were driving it: ‘It’s not a war on terrorism it’s a war of terrorism, The old imperialism, You know the money is the reason. America is killing for oil not for freedom.’ Egyptian folk singer Shaaban Abdel-Rahim’s anti-war song ‘Attack on Iraq’ became a massive hit in the Arab world. ’Leave Iraq in peace, you inspected it. It has no arms of mass destruction but they are still bombing it.’ From: New Internationalist ‘Sounds of Dissent’ Issue 359, August 2003 The Dixie Chicks Furore Anyone who doubts the power of protest music to activate people – either positively or negatively – need only think back to the uproar caused by Natalie Maines of the all-female country music trio Dixie Chicks, when she publicly criticised President George W. Bush on the eve of the 2003 invasion of Iraq. Texas-born Maines told a London audience: “Just so you know, we’re ashamed the President of the United States is from Texas.” Besides the loss of approximately half their concert audience attendance in the United States as a result of the backlash against her remarks, former fans were encouraged to throw their CD’s under a bulldozer, radio stations tuned out, and the women received death-threats for what was seen by some in the Land of the Free as their unpatriotic stand. But that is only half the story. For those less inclined to knee-jerk flag-waving, Maines was merely voicing a concern that many others – who had neither the courage nor platform to make themselves heard – shared in a country still reeling from the aftershock of the September 11th attacks on New York and Washington. Their 2006 single Not Ready To Make Nice struck back at critics and, despite minimal airplay from traditional stations, the album in which the single appeared debuted at No.1 in both the U.S. Pop and the U.S. Country album charts, and struck gold within its first week! And the Dixie Chicks went five for five at the 49th Annual Grammy Awards on Feb 11, 2007, winning the big three general categories: Album of the Year, Record of the Year and Song of the Year, as well as Best Country Album and Best Country Performance By a Duo or Group. Lead singer Natalie Maines exclaimed, as the group accepted the album of the year award, “I think people are using their freedom of speech with all these awards. We get the message.” 08 KEY CONCEPTS: Censorship Manipulation Controlling Messages Terrorism? Censorship and Manipulation… The corporatisation of music… Technology opens the doors… In the months after the September 11th terrorist attacks of 2001, the absence of anti-war music in the US seemed surprising – until it came to light that media corporations like Clear Channel and Citadel Communications circulated ‘don’t play lists’, including songs like John Lennon’s Imagine and Cat Stevens’ Peacetrain. As if this was not bizarre enough, record company executives met with the Bush Administration (in a scene that might have come straight from the satirical film ‘Wag The Dog’) to discuss how to help the war on terrorism. As a result, patriotic songs flooded the airwaves, Arab artists were forced to cancel their US tours and the Clear Channel financed ‘patriotic’ rallies. What is new, however, is the corporatisation of music – where greed for economic domination, not political or ideological domination, manipulates music – and the implications of this are widespread and worrying. Controlled by a mere handful of corporations, the global ‘entertainment industry’ has deployed an arsenal of satellite technologies, radio, television and print advertising – all in a sophisticated drive to sell more little round discs and tie-in products. Luckily for us, radical musicians continue to sing and write music that reflects the struggles and challenges of our times. And, one of the lovely ironies about the focus of advertising promoting ‘bigger and better’ everything – from record sales, jewellery and cars, to mobile technology – is that the same technological advances that helped the corporate music world have now progressed to the point where the ‘little man’ can take back some of the control. Corporations choose to promote empty-headed materialistic music as it is often in their economic interest to do so. While some Afro-American gansta rappers are demonised for their sexist and violent lyrics, little is said about the largely white-owned major record labels promoting them. These companies actively cultivate misogynist, homophobic and violent music while shutting out radical voices who might question the system. Why? Because radical politics don’t shift Nike sneakers as well as gold-jewellery-jangling blingbling culture does.3 New digital technology means the cost of recording and distributing a CD has come down to a level many people can now afford without ‘selling their soul’. Since 1979, the cost of a piano has tripled to an average of $2,900, while the price of electric keyboards has fallen so much that you can pick a good one up for under $400… a street kid who could never afford to hire strings or horns or who has been denied the education that would let him write parts for those instruments, now finds it all at his fingertips. 4 Of course, censorship and interest-group manipulation of music is nothing new – the control of musical messages has long been used as a weapon in the armory of state or religious control in countries and ideologies all around the world. For instance: • In Afghanistan, the Taleban banned music and persecuted anyone suspected of making or listening to it; • According to an Islamic official in Somalia, music is now banned in the country, and anyone violating the music ban could be arrested, fined and flogged; At the same time, the Internet has dramatically affected the way music is sold and marketed, to the fury of the recording executives – and mp3 downloads may well see the final act in the return of the control of music to the masses once again! • the Japanese government banned jazz music in the 1930’s and during the Second World War (as did Germany’s Nazis); • The Catholic Church banned son jarocho – one of Mexico’s most politically charged musical genres – during the 18th century on the grounds it was immoral, and first the Spanish, then the Mexican authorities, tried to isolate and suppress the genre (the most famous case is son jarocho’s signature song, ‘La Bamba’); • Drums, long popular in Trinidad, were banned in 1883 by British colonial rulers who feared they would be used to send secret messages encouraging a revolt; • Religious leaders in Wales in the 1700’s unsuccessfully tried to ban the triple harp. They declared music and dancing evil and, along with long hair, grouped them with murder and cock fighting among the 12 deadliest sins! 3 From: Politics with Soul, Adam Ma’anit, p9, New Internationalist Magazine, Issue 359, August 2003 4 Number 40, September 1986 – ‘Rock and Rap Archives’ at http://www.rockrap.com/archiv40.html 09 I am Woman, Hear me Roar! ‘I am woman, hear me roar, in numbers too big to ignore…’ In 1972 a song co-written by Helen Reddy and Ray Burton swept to No.1 on the Billboard charts. Performed by Reddy, I am Woman went on to win a Grammy Award, sell over one million copies, and become an iconic anthem of the women’s movement. 1972 was the same year that feminist Gloria Steinem’s Ms. Magazine was launched in the US, and Cleo Magazine (another ‘feminist’ publication) started in Australia. Feminism was on the rise, and the song not only summed up the growing strength of women’s movements all around the world, but also reached far beyond the so-called ‘feminists’ to people everywhere. “It’s not just for women,” said Reddy. “ It’s a general empowerment song about feeling good about yourself. Believing in yourself.” It was further catapulted towards anthem status when the 1973 National Organisation of Women’s annual conference in Washington DC closed their gala entertainment night with the playing of I am Woman. Founder of NOW, Betty Friedan, was quoted as saying: “Suddenly women got out of their seats and started dancing around the hotel ballroom and joining hands in a circle that got larger and larger until maybe a thousand of us were dancing and singing… it was a spontaneous, beautiful expression of the exhilaration we all felt in those years, women really moving as women.’ The composition was the result of Reddy’s search for a song to express her growing passion for female empowerment. In a 2003 interview in Australia’s Sunday Magazine5, she explained: “I couldn’t find any songs that said what I thought being a woman was about. I thought about all these strong women in my family who had gotten through the Depression and world wars and drunken, abusive husbands. But there was nothing in music that reflected that.” Reddy’s own long years on stage had also fuelled her contempt for males who belittled women. She said “Women have always been objectified in showbiz. I’d be the opening act for a comic and as I was leaving the stage he’d say, ‘Yeah, take your clothes off and wait for me in the dressing room, I’ll be right there’. It was demeaning and humiliating for any woman to have that happen publicly.”6 Today’s Women Warriors In virtually every country across the globe, women musicians are voicing their concerns over the many pressures they and their communities are facing. With the blitz of negative female role models being promoted by large-scale commercial record labels, it is reassuring to know there are alternative 5 published with the Sunday Herald Sun and Sunday Telegraph 6 Source: Wikipedia, the free encyclopaedia http://en.wikipedia.org http://www.pinkspage.com/ 7 10 viewpoints out there, gaining vast audiences among those who want to hear music that ‘speaks’ specifically to them. For instance: Pink ‘…what happened to the dreams of a girl president, She’s dancing on a video next to 50 Cent… where, oh where, have the smart people gone?’ (STUPID GIRLS) Although she was initially viewed as yet another face in the late-’90s crowd of teen pop acts, Pink quickly showed signs of becoming one of the rare artists to transcend and outgrow the label. She has not only spoken out about the “mindless epidemic of unhealthy girls out there promoting consumerism and escapism” – most famously in her scathing song Stupid Girls – but has also used her fame to highlight issues such as animal rights, human rights, gay and lesbian rights, AIDS, breast cancer and many other current humanitarian and environmental campaigns.7 KEY CONCEPTS: Female Empowerment Stupid Girls Untouchable Girls Ani DiFranco ‘You might be the wrong colour, you might just be too poor, justice isn’t something, just anyone can afford…’ (CRIME FOR CRIME) One of her generation’s most prominent Folk pioneers, Ani started playing guitar at the age of nine. By 15 years old she was living on her own, turning her wealth of poems into song lyrics. She set up her own recording label to maintain control of her career and musical direction, and has used her website to ‘share information and ideas, to suggest places you can look for alternatives to mainstream media coverage of world events, and to propose ways you can find and work with like-minded individuals and organisations around the planet and in your own neighbourhood.’ 8 When asked whether songs can change people’s minds, Ani said: ‘I don’t think you could write the perfect song and change the world. But everything contributes… as songwriters we should be speaking up… it’s that cumulative effect that will put all of us together to make that change.’ She went on to say, when asked about the most pressing message that needed to be put across, that ‘from what I understand about the world, peace is not possible without balance. And patriarchy is inherently imbalanced. I don’t think there’s any such thing as peace within patriarchy… the feminine perspective, which sees the world as a network of relationships, not as a hierarchy of individuals, is also essential to understanding… an emphasis on relationship and connection is sorely needed, in our governments and our cultures, to strike that kind of balance and shift the dynamic.’ 9 © Righteous Babe Records birthday tribute concert in London later that year that she was discovered by a mass global audience. Her songs reflect a passionate commitment to truth and justice, unswervingly focussed on issues such as violence against women, institutionalised racism, welfare issues, corruption, the social hypocrisy over gun violence, and anger at those who make their living ‘off of someone else’s sweat.’ Jools and Linda Topp – The Topp Twins ‘We’re untouchable, untouchable, untouchable girls…’ Tracy Chapman ‘Poor people gonna rise up, and get their share’ (TALKIN’ BOUT A REVOLUTION) Singer-songwriter Tracy Chapman’s songs are full of sharp observation, deeply rooted in her personal experience of growing up poor in a working-class community in Cleveland, Ohio. Her first album, released in 1988, was well received, but it was not until her appearance at Nelson Mandela’s 70th 8 The Topp Twins came of age as performers in the early ‘80s during the heady days of political protesting. They were very much at the forefront of the struggle for anti-apartheid, Nuclear-Free NZ, Mäori land rights and the Homosexual Law Reform. As ‘out’ lesbians since 1977 (when the main press refused to print the word), the Topp Twins have always been visible and proud about their sexual identity. The Twins’ ability to relate to all kinds of people, and their gift for humour, has ensured that this is not an issue. One of the unique qualities of the Topp Twins is that they have successfully crossed from the fringes to the mainstream. “The most political stage is right now, because we are taking a known lesbian act and we’re putting it on primetime TV and we’re getting mums and dads and kids to watch it”. (JOOLS TOPP)10 http://www.righteousbabe.com/ 9 From: http://folkmusic.about.com/od/anidifranco/a/AniInterview_2.htm 10 From: http://www.topptwins.co.nz/Site/topp_media.asp 11 Celebrity Showboys One of the more highly visible phenomena of recent times is the rise of celebrity involvement in global protests. From rock stars to comedians, the glitterati have taken up the challenge of changing the world on an unprecedented scale. BOB GELDOF Irishman Bob Geldof rose to fame as the lead singer of the Irish band Boomtown Rats – a group closely linked to the punk movement. His first major charity involvement occurred in Sept. 1981, when he performed as a solo artist for Amnesty International’s benefit concert The Secret Policeman’s Ball. The show and its spin-off albums raised considerable money for Amnesty, and raised the public’s consciousness of human rights. As well as his creation of Band Aid, the Live Aid concert and the more recent Live 8 concerts, he was invited by Tony Blair to join 16 other Commissioners (the majority from Africa and many of them politicians in power) to undertake a year-long study of Africa’s problems. They came up with two conclusions: that Africa needed to change, to improve its governance and combat corruption, and that the rich world needed to support that change in new ways. That meant doubling aid, delivering debt cancellation, and reforming trade rules. In July 2006, he infuriated many Aotearoa New Zealanders by criticising our government’s foreign aid contribution – calling it ‘shameful’ and ‘pathetic’. Winston Peters, the Minister of Foreign Affairs, responded that Geldof failed to recognise the ‘quality’ of New Zealand aid as well as other New Zealand contributions. Geldof’s wealth was estimated by Broadcast magazine, in 2001, to be £30 million. How much of his earnings he donates to charity is not known. Geldof has received many awards for his fund-raising work, including an honorary knighthood from Queen Elizabeth II – although, because he is from the Republic of Ireland, Geldof is precluded from using the title ‘Sir’. The Band Aid single Band Aid II Band Aid, a British and Irish charity, was founded by Bob Geldof and Midge Ure in 1984 in order to raise money for famine relief in Ethiopia. The single they created, Do They Know It’s Christmas?, was released on 3 December, and went straight to No. 1 in the UK singles chart, outselling all the other records in the chart put together. It shifted a million copies in the first week alone. The single stayed at No. 1 for five weeks, selling over three million copies and becoming easily the biggest-selling single of all time in the UK to that point – and raising millions of pounds for famine relief. In 1989 a new line-up, reflecting the musical climate at the time, formed after a second famine had struck Ethiopia. Band Aid II featured artists such as Kylie Minogue and Jason Donovan. Do They Know It’s Christmas? was re-recorded and the song again became the Christmas No. 1 in the UK charts. The title ‘Band Aid’ (as well as a pun on the name of the well-known brand of sticking plaster) refers to a group of musicians working together as a band to provide aid. Geldof chose the members of the group on the basis of their fame – with the single goal of cashing in on the performers’ popularity to maximise record sales. All 44 performers gave their time for free, including such artists as Phil Collins, Sting, David Bowie and George Michael. 12 Band Aid 20 The Band Aid 20 single was first played simultaneously on the The Chris Moyles Show (on BBC Radio One) and the breakfast shows on Virgin and Capital Radio, at 8am on 16 November, 2004. The video was first broadcast in the UK simultaneously over multiple channels, including the five UK terrestrial channels, at 5.55pm on 18 November, 2004, with an introduction by Madonna. British artist Damien Hirst designed an intimidating cover for the Band Aid 20 single, featuring the grim reaper and a starving African child. However, this was later dropped after fears that it might scare children. The single was released on 29 November, 2004. One of the new ways to buy the song, by downloading it from the Internet, hit a problem when Apple Computer’s iTunes Music Store initially refused to supply it, due to their fixed-pricing policy. A partial solution was reached after a few days, enabling UK users to download the song at the standard iTunes price, with Apple donating an extra amount (equivalent to the price difference) to the Band Aid Trust. The CD version sold over 200,000 copies in the first week, and became the fastest-selling single of the year, with all money raised going toward famine relief in the Darfur region of Sudan. The Live Aid concert Live Aid was a multi-venue rock concert held on July 13, 1985. The event was organised by Bob Geldof and Midge Ure in order to raise funds for famine relief in Ethiopia. Billed as the ‘global jukebox’, the main sites for the event were Wembley Stadium, London (attended by 72,000 people) and JFK Stadium, Philadelphia (attended by about 90,000 KEY CONCEPTS: Music and Charity Online Petitions people), with some acts performing at other venues such as Sydney and Moscow. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated 1.5 billion viewers, across 100 countries, watched the live broadcast. The final figure raised by the concerts came in at £150 million, and landed Bob Geldof an honorary knighthood. The Live 8 concerts Live 8 was a series of concurrent benefit concerts that took place on 2 July 2005, in the G8 states (Canada, France, Germany, Italy, Japan, Russia, the UK and the US) and in South Africa. They were timed to precede the G8 Conference and Summit held at the Gleneagles Hotel in Scotland from 6-8 July 2005; they also coincided with the 20th anniversary of Live Aid. Running parallel with the UK’s Make Poverty History campaign, the shows planned to pressure world leaders to drop the debt of the world’s poorest nations, increase and improve aid, and negotiate fairer trade rules in BONO Paul David Hewson (born 10 May 1960), known as Bono, is the lead singer and principal lyricist of the Irish rock band U2. Bono is also widely known for his work as an activist in Africa. Bono has stated he was motivated to become involved in social and political causes after seeing a benefit show staged for human rights organisation Amnesty International in 1979. Since 1999, Bono has become increasingly involved in campaigning for debt relief and the interest of poorer countries. Ten simultaneous concerts were held on 2 July and one on 6 July. On 7 July the G8 leaders pledged to double 2004 levels of aid to Africa from US$25 to US$50 billion by the year 2010. An enormous petition with (presently) over 38 million names is available to be signed on the Internet. Named the “Live 8 List”, this can be reached via http://www.live8live.com/list. Millions of paper petitions and emails have already been submitted. to ring people he knew, to get a ‘major line-up of rock and pop stars’. Other critics say that millionaire rock stars would make greater contribution by donating parts of their personal fortunes – and that some of the performers involved had been out of the public eye and were possibly using the concert as a way of getting back “into the spotlight”. However, it is important to note that Live 8, unlike Live Aid, wasn’t intended to raise money, but awareness and political pressure. In this, it certainly did seem to hit the mark. Criticism of Live 8 Ian Ashbridge of Wrasse Records accused Geldof of being “deeply patronising in organising a concert for Africa and then not including African artists… he wanted to tilt the world a bit in favour of the poor and Africa, and he’s missed a golden opportunity to do just that.” Geldof responded by arguing he had just three weeks to pull the whole event together, and went through his address book raising awareness of the plight of Africa including the AIDS pandemic. In the past decade he has met with several influential politicians including US President George W. Bush and Canadian Prime Minister Paul Martin. During a March 2002 visit to the White House, after President Bush unveiled a $5 billion aid package, Bono accompanied the President for a speech on the White House lawn. He stated, “This is an important first step, and a serious and impressive new level of commitment. ... This must happen urgently, because this is a crisis.” In May of that same year, Bono took US Treasury Secretary Paul H. O’Neill on a four-country tour of Africa. He spoke in advance of President Bush at the 54th Annual National Prayer Breakfast, on 2 February 2006, peppering his speech with biblical references to encourage the care of the socially and economically depressed. His comments included a call for an extra 1% “tithe” of the United States’ national budget. Debt, AIDS, Trade, Africa (DATA) was established in 2002 by Bono and Bobby Shriver, along with activists from the Jubilee 2000 Drop the Debt Campaign. DATA’s goals include eradicating poverty and HIV/AIDS in Africa, and encourages Americans to contact senators and other legislators and elected officials to voice their opinions. In early 2005, Bono, his wife Ali Hewson, and New York-based Irish fashion designer Rogan Gregory launched the socially conscious line EDUN in an attempt to shift the focus in Africa from aid to fair trade and ethical business practices. Product Red is another initiative begun by Bono and Bobby Shriver to raise money for the Global Fund to Fight AIDS, Tuberculosis and Malaria. Bono has drawn some criticism for getting too close to those in power and therefore running the risk of legitimising their actions and “trying to patent the language of poverty reduction.” Paul Theroux has criticised him for sending money to probable corrupt governments, while he and the other U2 members have also been criticised for moving part of their multi-million euro business empire out of Ireland to minimise their tax liability. Sources: http://en.wikipedia.org , http://arts.guardian.co.uk and http://www.tutorgig.com 13 Moerewa – A Case Study Tama tu tama ora, Tama noho tama mate To stand is to live, to lie down is to die Colonisation in action… Corporate bosses… Neo-liberalism takes hold… Moerewa, a small town in Northland, Aotearoa New Zealand, emerged from the relocation of Taitokerau-wide Mäori who, by the 1940’s, were landless. They moved into about 30 1-2 room abandoned American transit huts, providing labour for the local dairy factory and freezing works. This settlement eventually became known as “Tuna Town” – a dismal ghetto that only accentuated Mäori poverty. Meanwhile, the town, situated smack in the middle of Northland, seemed destined for development as a service industry town. With the establishment of large corporate companies such as the Allied Farmers Freezing Company (AFFCO), the BOI Dairy Company, the railways and associated businesses, the small rural town comprised of 86 percent Mäori (1996 census) and was regarded as ‘booming’ in the 1960s and 70s – with the freezing works benefiting from Moerewa’s cheap labour force (many amongst them landowners from whom AFFCO had appropriated land). Other Mäori commuted daily from outlying districts for employment, away from the rich cultural and whänau structures they inherited. While it can be argued that these were good times for Mäori (there was employment, money, housing and schools), the 1980’s saw major economic, environmental and political changes that led to the demise or radical downsizing of the industries that had once kept the town alive. These decisions had a major negative impact on the people of Moerewa and for many years following this period the township battled to survive. The once vibrant community was soon to be known for a raft of negative statistics – violence, crime, alcohol and drug abuse, unemployment, youth problems, social problems and low levels of achievement. For many, these indicators of poor health, wellbeing, and socio-economic status came to be regarded as the norm – just the reality of Moerewa. Mäori were not permitted to build on their own land: rather, they were required by various means to sell or swap their land, to obtain a deposit to live elsewhere – with many shifting to Auckland from the 1950’s onwards. In the 1960’s the Crown agreed to allow some semi-urban Mäori housing settlements, but many of these lacked insulation, floor coverings, floor space, quality paint, wall coverings, concreting, fencing, sewage and community facilities. The Roadshow Boys, with Ngahau Davis (right) 14 KEY CONCEPTS: Local Initiatives Roadshows Tutu Productions What’s all this got to do with music? The Trust created a School of Passion – making use of the technological advances of the last ten years to create a Production House (Tutu Productions), a radio station, computer training courses, computer suites, video-editing suites and alternative education opportunities. Young people, formerly unemployed and lacking hope, were mentored into key roles – with many finding their ‘voice’ through the Hip Hop elements of rap, dance and graffiti art. Strong empowering messages of hope and aspiration started to emerge from the town’s rangatahi, as a result of this mentoring – and they decided to develop a ‘road show’ to showcase the talent and messages for others in the Northland area. The ‘Be Who You’re Born To Be’ Roadshow Josie performs in The Roadshow Community motivation… The community began to feel that much of the assistance provided over this period was creating dependency on Government initiatives – and that a more holistic approach was called for. Local people not only wanted better futures for themselves, but also longed for a way to develop the potential of their rangatahi (young people), who they viewed as caught up in a cycle of deprivation. A threeday community festival was organised in 1998 – celebrating past, present, and future – as a way to start dialogue on how to move forward. As well, an all-day concert saw over 600 people in attendance. “At the time we didn’t know what community development was, but we figured it was something about finding out about the needs of the community, and finding or creating services or programmes to meet those needs.” (Moerewa local) This grassroots development enabled the community to move away from dealing with issues in a superficial and adhoc manner (as had been the case in the past) and, instead, identify and address the root causes of deprivation. These included welfare dependency, low self-esteem and powerlessness. The He Iwi Kotahi Tatou Trust was started in the early 1980s, initially as a response to the growing unemployment problems in Moerewa. Youth issues were a focus in the early years, with Trust-developed training programmes, and the Trust has slowly transformed into an inspiring model of community development. They now have programmes that meet the needs of the community, initially working in the social services sector to offer counselling, whänau support, drug and alcohol programmes and school programmes, but further expanding to include the retrofitting of local houses with insulation, assisting in the repair of sub-standard housing, and the building of public toilets and other community facilities. The aim of the Be Who You’re Born To Be Road Show was to inspire and encourage the rangatahi of Moerewa to follow their passion and dreams to be whoever they were born to be. The Trust helped the rangatahi put this road show together, and it has been a great success – not only for the rangatahi involved in its creation, but for the many who have attended their entertaining and thought-provoking performances. This is truly an example of music (and dance) being used to empower individuals and their communities – and to celebrate the unique identity of Moerewa and its people. To find out more about this great local initiative, go to: http://www.tutu.co.nz/index.htm and http://www.heiwi.co.nz/index.htm JUST B U I climbed the highest mountains, I swam the deepest seas, I fought in the greatest of wars. Then one day I realised what I was looking for was no further than my thumb. by Waiaporo (E P Jones) Source: Ngahau Davis 15 KEY CONCEPTS: Hip Hop Dreams – “The CNN of Black People” Collective Identity Indigenous Voices From its very beginnings Hip Hop has been used as a powerful voice for political and cultural messages. Called the ‘CNN of black people’ by some, and referred to as their ‘satellite communication system’ by others, it has become a ‘cultural virus, circulating its images, sounds, and attitudes’ throughout the world.11 Soundtrack for youth With its roots in the African American and Latino ghettos of the United States, the best Hip Hop is intensely political and offers a particularly effective outlet for indigenous communities suffering the long term effects of poverty, racism, high unemployment, poor housing, health, and lack of access to educational opportunities. It has become the language, culture and soundtrack for urbanised youth from ‘detribalised’ origins, in a world very different from any other period of human history. Hip Hop is used as a tool for empowerment, with which disenfranchised, minority, and indigenous peoples can talk about their lives and experiences in a positive way. For example, while Latinos, especially Puerto Ricans, participated in mainstream Hip Hop from its very early days, bilingual MCs highlighted their cultural ‘influences’ in ways often silenced in the greater US culture. Cultural possession At home in Aotearoa New Zealand, these examples of cultural ‘possession’ of Hip Hop inspired many of our most committed artists – with performers such as Dean Hapeta (Te Kupu), producing albums and singles that ‘offer a hardcore insight into colonialism, resistance and power struggles’. As a respected member of the Hip Hop community, Hapeta’s work demands mana, tino rangatiratanga and acknowledgement of tangata whenua – using Hip Hop as a vehicle to express and confirm Mäori as the indigenous people, as tangata whenua. Pacific artists also use Hip Hop as a means to uplift their people and foster an identity in a land that they are not indigenous to, but have migrated to. Although many of the words used in Hip Hop are imported from overseas, more and more are now drawn from Mäori and Pacific Island languages. By using their own language, their voices reflect their unique cultures – and speak of issues vitally important to each group. It’s a way of re-educating Mäori and non-Mäori about their cultural history... a way of truly making local Hip Hop relevant for local youth. Around the globe This same formula can be seen in other indigenous cultures’ use of Hip Hop. For instance, the indigenous peoples of Australia – Aborigines and Torres Strait Islanders – use Hip Hop as a tool for relaying messages about their history of colonialism, traditional culture and the present day issues they face. Local Knowledge, an Aboriginal crew based in Sydney, takes the traditional elements of American-derived Hip Hop but gives it a local and indigenous edge. They talk about drug and alcohol abuse and its effects on children The same Hip Hop formula that provides a voice for marginalised people is seen flourishing in every corner of the globe – from Africa to Asia, Guatemala to Germany, and Pakistan to Palestine. At its basis is the desire by indigenous performers to remain strong and connected to their unique cultures. And, while the commercialised and politically bankrupt images seen most often on our TV screens seem at odds with this cultural reawakening, the artistic discussion generated by committed and politicised artists gives a clear and encouraging call for respect of each other’s beliefs, backgrounds and experiences, in an attempt to encourage people to become active, conscious global citizens. Hip Hop is used as a tool for empowerment, with which disenfranchised, minority, and indigenous peoples can talk about their lives and experiences in a positive way. Dr Kirsten Zemke-White12, speaks about Pacific youth joining in a ‘collective identity’, with political and racial dimensions. She believes ‘rangatahi, or youth, use the rap genre exactly as it was intended: as a political and aggrieved voice of a sometimes voiceless people’. 11 From: p82 ‘Westsiders – Stories of the Boys in the Hood’, W. Shaw, Pub. Bloomsbury 2000 12 in her article ‘Rap Music and Pacific Identity in Aotearoa: Popular Music and the Politics of Opposition’ 16 and the wider Aboriginal community; reaffirm Aboriginal tribes across Australia as the true occupiers of the land; and talk about the shameful history of the Aboriginal people at the hands of White Australia, in the context of the Stolen Generation. Save The Children Oral traditions were once a universal way of sharing knowledge. Storytelling, song, music, poetry and dance were used to pass on knowledge such as culture and people’s history, experiences, legends, beliefs, traditions and ways of life. The development of the written word has transformed how humans communicate. Knowledge is now transported more widely, often beyond its original culture. Processes such as colonisation have seen a significant change in the way people influence each other and are able to reach each other all around the world. In some areas this has begun to take over the practice of oral traditions as a way of sharing knowledge. Children in Quelimane performing a song on HIV and AIDS Peer education in Laos Oral traditions have by no means been lost completely. Indigenous cultures in particular retain much within everyday practice that continues to share understanding of history, personal origin and belonging. In Aotearoa New Zealand, Mäoritanga is full of oral tradition: mihi, waiata, and haka are all used to retell family history, explain where a person comes from, their place and their genealogy. using song, dance and drama as a way to reach out to, interest and inform children and communities they work with. Africa, too, has a history of oral tradition embedded in storytellers, praise poets and musicians. Music plays a central role in communication in a continent with limited accessibility to reading and writing. For example, Zimbabwe is currently experiencing the highest inflation in the world, poor wages, shortage of basic commodities and medicines. Zimbabwe is an example of a country where people are using music (traditional, western, religious) to promote resilience, to empower, inform and promote action on issues such as health, human rights, good governance, participation in democracy, education, gender and disability. In Laos the first peer education group ever was started through a Save the Children Youth Centre project. A group of young peer educators were interested in Hip Hop music and dance and came up with the idea of using dance and music to attract other young people to their public education events on youth issues like reproductive health and drug abuse. The use of Hip Hop in a conservative society such as Lao was at first met with resistance from adults, but when adults saw how effective it was in attracting young people and getting them to listen to the important messages of the peer educators, adults then began inviting the dancers to perform at youth focused events organised by government departments. Save the Children New Zealand (SCNZ) recognises the important role oral traditions play in countries and cultures they work within often In Mozambique, a country racked by civil war for much of the last 20 years prior to the peace agreement, formal education was disrupted and the levels of literacy are low, SCNZ has developed an education programme on HIV and AIDS which uses song, dance and drama to inform and educate. Mwana anoita rombe (a reckless child, an outcast) Mwana anoita rombe Mwana anoita rombe (All) Handina mwana anoita rombe Ini ndaramba Handina mwana anoita rombe Anorova mukadzi Anorova murume Achirara kundhari Anosingazive kuzvibata Achiramba ‘Kondomu’ Handina mwana anoita rombe (I will not have a reckless child, an anti social child who hits his wife, who hits her husband, sleeps in pubs and refuses to use the condom) Source: Sonya Hogan, SCNZ 17 Take Action Support Freemuse FREEMUSE – THE WORLD FORUM ON MUSIC AND CENSORSHIP is an independent international organisation advocating freedom of expression for musicians and composers worldwide. It is guided by the principles outlined in the United Nations Declaration of Human Rights as they apply specifically to musicians and composers. The FREEMUSE secretariat was established in August 2000. Freemuse In Action Their objectives are to: • Document violations and discuss their effects on music life. • Inform media, human rights organisations and the public. • Support musicians in need and observe at their trials. • Develop a global network in support of threatened musicians and composers. To reach these objectives FREEMUSE initiates a variety of activities: International campaigns for musicians in need, informative activities, such as press conferences and lectures, as well as publishing reports, articles and regular newsletters. FREEMUSE participates at several conferences, seminars and festivals. One of the main FREEMUSE activities are the recurring world conferences. Your free copy of ‘The Next’… What’s it all about? Launched in 2005 by The Global Education Centre, ‘ The Next’ is a substantial resource that utilises young people’s interests as a process for engaging them in an exploration of the world around them. ‘The Next’ project consists of two parts: research looking at Hip Hop culture from three perspectives and a resource for youth workers and educators that provides a sound understanding of Hip Hop culture and explores how Hip Hop can empower young people. In the process of researching, writing and producing ‘The Next’, GEC was joined by a range of different sector groups – Hip Hop community members and non-members alike – to combine talents, beliefs, thought processes, and a widely diverse range of knowledge and skills to truly reflect the value of Hip Hop within our communities. The project was a living process, relying on the passions and inspirations of those involved - with other project partners including Save The Children, Ydub, Tearaway Magazine, Back2Basics, The Church and BaseTwo. The purpose of the resource is to provide youth workers and educators with the information necessary to develop a practical understanding of the history of Hip Hop and an understanding of the different forms and elements within the genre – to be used to increase awareness about global issues that impact on young people’s lives, both locally and globally. It also fosters an understanding of the elements within the genre that can promote positive development approaches to dealing with issues impacting on young people and their communities, particularly in developing countries. It offers a unique overview and critique for exploring development issues through a medium defined by young people, and especially those from more marginalised groups in society. You can join FREEMUSE as a member and support their activities. Check out their website at http://www.freemuse.org or email: [email protected] OTHER WAYS TO TAKE ACTION: Express yourself!! Explore non-mainstream music and its messages! Check out WOMAD! Create a music event to promote a message (like the Surf Aid gigs)! Support The Parihaka International Peace Festival An annual event celebrating leaders in Non-violence through: Music, Film, Comedy, Peace Forum, Jamming, Tree Planting… The Parihaka International Peace Festival celebrates the vision and example of Te Whiti o Rongomai and Tohu Kakahi, and the openness of the people of Parihaka to advocate non-violent action in the face of oppressive forces and daunting odds. This vision can help us forge a culture of peace and non-violence throughout the world now and into the future. To find out more about the history of Parihaka, check out the Global Bits issue titled Parihaka, and the Gift of Non-Violent Resistance (you can download it from our website www.globaled.org.nz ) or visit http://www.parihaka.com/ or contact [email protected] 18 Useful Resources and Websites These resources and more are held in our GEC library (part of the Development Resource Centre Library.) Membership is free. To register, or search the catalogue, visit the library section of our website: www.globaled.org.nz/library.html Please contact us if you would like to receive a comprehensive listing of our youth worker and other resources. Books: Sounds of dissent: the politics of music; New Internationalist Magazine; No.359 August, 2003. Worlds behind Music: an activity pack on world music and development; Volunteer Service Overseas; London; 1995. Multimedia: Parihaka: the art of passive resistance; Music CD - Morrison Music trust, 2000. Money for nothing: Behind the business of pop music; Documentary Video; Media education Foundation; England; 2001; This video addresses the shrinking number of record companies in today’s music industry, the centralisation of radio ownership and playlists. Excellent – it features respected contemporary musicians as role models for independent artists. They address the difficulties involved in maintaining independent from corporate ownership of the music industry. Great critical thinking. Nga Tahi: Know the links; Documentary DVD; Kia Kaha Productions 2003; Combining music and images with thoughts and comprehensions: rappers, poets and thinkers share their views alongside free mumia rallies, the million family march, the X1 International Poetry Festival in Medellin, Rastafarian Nyahbingi, Aboriginal reality, Hawaiian self-determination, Maori activism, French rap, Cuban street music and more. Another world is possible; Attac org; France; 2004; This CD-book package from ATTAC, the French-born anti-globalization movement, contains rare, unreleased or live music from artists including Moby, Massive Attack, Asian Dub Foundation, Manu Chao, world music stars Nitin Sawhney, Salif Keita and Femi Kuti, reggae artists The Skatalites, Lee Perry and Tiken Jah Fakoli. The book contains essays in four languages from globalization commentators Naomi Klein, Noam Chomsky, José Bové, Arundhati Roy, and others. Letter to the president: ‘the streets get political...” DVD; QD3 Entertainment Inc.; 2004; This film takes a look at a variety of issues affecting the urban community including the Crack Conspiracy, censorship, racial profiling, police brutality, poverty, prison fro profit and the NYPD Hip Hop Task Force. By exploration of rebel music with a cause, it examines the role that Hip Hop culture has played in the Black Civil Rights Movement in the USA. http://www.docjazz.com The Musical Intifadah is a project that brings together the music of artists who have composed songs dealing with the Palestinian struggle for sovereignty and independence. Websites: http://arts.guardian.co.uk Guardian Unlimited’s Arts and Entertainment pages. http://www.thenext.org.nz The Next is about utilising young people’s interests in Hip Hop as a process for engaging them in an exploration of the world around them. At the core of the project is the desire to develop a way of engaging young people in education processes that reflect where young people are at. To search through the extensive links provided by The Next resource, go to: http://www.thenext.org.nz/the_resource/ appendices/external_links.php http://www.savethechildren.org.nz Save the Children is a non-political, non-sectarian development agency that delivers immediate and lasting improvements to children’s lives worldwide. http://www.newint.org New Internationalist is renowned for its radical, campaigning stance on a range of world issues, from the cynical marketing of babymilk in the Majority World to human rights in Burma. http://www.parihaka.com The Parihaka International Peace Festival is the people’s way of both honouring the teachings of their 19th century leaders and moving Parihaka forward. Taking its place back in the world of non-violent resistance, the Parihaka International Peace Festival is the culmination of a series of development projects aimed at restoring Parihaka. http://www.takingitglobal.org is an online community that connects youth to find inspiration, access information, get involved, and take action in their local and global communities. http://www.live8live.com/list Online petition. http://rockrap.com Rock and Rap Archives. http://en.wikipedia.org/wiki/Main_Page Online encyclopaedia. http://pinkspage.com Official Pink website. http://www.peta.org People for the Ethical Treatment of Animals website. http://www.righteousbabe.com/ani/index.asp Official Ani difranco website. http://www.topptwins.co.nz The Topp Twins official website. http://www.tutorgig.com/encyclopedia/index. html Online encyclopaedia. http://www.tutu.co.nz Site for the Be Who You’re Born To Be Roadshow. http://www.freemuse.org THE WORLD FORUM ON MUSIC AND CENSORSHIP is an independent international organization advocating freedom of expression for musicians and composers worldwide. 19 About the Global Education Centre Global Bits is produced by the community youth arm of The Global Education Centre (GEC) provides services to GEC’s sister programme at the Development Resource the Global Education Centre (GEC), a programme of the the formal and informal education sectors, and the youth Centre is Dev-Zone, a resource centre focused on Development Resource Centre (DRC) – a not-for-profit, and community sectors on global education through international development and global issues. They operate a non-governmental organisation governed by a charitable its Schools and Community Youth programmes. GEC free library, manage a comprehensive website, and publish trust. We are core funded by NZAID Nga Hoe Tuputupu- provides training and resources to teachers, teacher a magazine Just Change. Services include answering quick mai-tawhiti (The New Zealand Agency for International trainees, students, youth workers and community groups. enquiries, email updates, information projects, and literature Development). The DRC’s vision statement is change for Services include workshops, youth advocacy, Global Issues searches on a variety of development topics. Dev-Zone a just world and its mission is informing and educating to magazine, teaching resources, a website including fact works with the development and human rights sector, as empower people to take action to create a just world. sheets and links, and a free lending library. well as students and the general public. The Global Education Centre is core funded by NZAID – Nga Hoe Tuputupu-mai-tawhiti