Music as Cultural Criticism
Works Cited Not Included
In his article “Daily Life in Black Africa: Elements for a Critique,” author Paulin Houtondji offers his perceptions of several aspects of life in Africa. His statements are explicit, observant, harsh, and backed up with examples and anecdotes. Many African pop musicians provide similarly critical assessments of various aspects of African life, but they choose to do so in a much subtler way. Houtondji’s criticism of Africa for its serious failure is similar to that of artists like musician E.T. Mensah, who uses upbeat music to lessen the sting of his subversive lyrics. In fact, so deceivingly happy is the sound of the music that missing the entire message of the song is highly possible. His candor and blatancy in expressing his opinion, however, also parallels the work of artists like Fela Kuti, Unsung Heroes, and Prophets of Da City.
Though Houtondji and many musicians share the common goal of improving society, or at least highlighting its flaws, the parties focus on different aspects of society, and probably garner different results. To a Western reader, Houtondji and his writings may seem more serious, scholarly, and even competent, even for such a simple reason as a societal bias towards the written word over the spoken. On the other hand, taking into account the low literacy rates in much of Africa, as well as the aural language, the situation may be the opposite in Africa. The spoken, or sung, word should prove highly effective in addressing social wrongs, suggesting societal change, or calling people to action. Using words as weapons is not uncommon, and they are effective both set to music and written.
A preliminary reading of Houtondji’s article leads to a c...
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...such injustices.
Words are often used as effective weapons in written and verbal war. Though seemingly non-violent, these conflicts contain elements of violence, and can thus prove highly painful. In his article “Daily Life in Black Africa: Elements for a Critique,” author Paulin Houtondji criticizes superficial problems in daily life in Africa, while hinting at the issues of the bigger picture. Similar to this approach, E.T. Mensah uses music to soften the blow of his loaded words. Other pop musicians, such as Fela Kuti, choose not to be sensitive to their audiences, and instead assault them with politically charged lyrics, calling them to action and demanding social change. Both approaches and styles are effective, but an audience’s receptiveness and perception may be the most important determining factors of an artist’s success in issuing a call for change.
I would like to select "Homeless" (1986) by Paul Simon for the final written assignment. In the paper, I would like to discuss how Paul Simon utilizes the sound of Africa in a popular western culture. I am also curious to explore elements he alters to appeal to a western audience.
“In Caribbean popular music, there is no shortage of songs whose representations of gender, from a North American liberal or left perspective, would seem controversial.” (Manuel, 1995) This statement gives insight into the fact that the Caribbean, as a cultural space, is adept at introducing gender issues to the content of musical expressions. It is not only from the perspective of North America that such content would be viewed as controversial, as many analyses have been done based on such an assumption within the Caribbean itself. However, Caribbean popular music is arguably prominent outside the region and has contributed to the formation of several social realities as to how gender roles are appropriated and construed.
Although artists do not create certain music to cure diseases or to make scientific or technological discoveries, music is one thing society can never live without. To both artists and their listeners, music provides an indispensible beauty that helps fulfill lives, and connect to nature. Music expresses the human condition in the purest way and affects everyone at a personal level. Plato, a well-known classical Greek philosopher once said, “If you want to measure the spiritual depth of society, make sure to mark its music.” Generally performer collaborate songs to represent the popular pop culture, and social issues, and wish for their society as well as their current era. For instance, controversial issues such as sex, violence, racism and discrimination has been represented through many musical genres including the blues, R&B, Disco/Funk, and Hip hop. When comparing previous historical periods to our current era, one can see tremendous differences in how they are exemplified in the genres have illustrated their music to address these specific issues. For instance, when talking about historical period they focus more on messages that are important to black communities such as freedom from racism, sexism and discrimination for example R&B conveyed a fight for freedom and stereotypes. On the other hand, recent genres such as Hip Hop do not portray a message, or if they do portray a message, the messages do not represent black culture as a whole.
Some artists use their music to share their social commentary, while others write music to earn money and fame. The authors of these articles stress that it is important for artists to decide if they want to “make music that might have the chance of helping me pay the bills or do I make music that represents my heart, my community, and how the country is going?” (Green p.3). Green and McCarthy both argue that it is crucial for artists to take a stand and discuss social issues and controversial topics. Being a musician allows an individual a unique opportunity to share their thoughts about the world with others. Artists should focus on important issues such as sexism, police brutality, racism, etc. The authors argue that the music business needs “more artists who aren’t afraid to tackle important social issues” (McCarthy p.2). Even though rap and country music could not be more different on the spectrum of music, both genres are used to communicate the artist's thoughts about the
The question presented, concerning the South African apartheid and the music that was involved with the movements, debates whether the music came from the people’s desire to over come apartheid or if the music was a catalyst to the movement. As explained in the movie, the people used music for different aspects of the music, fundamentally a different song for every part of the movement. The music was a way in which the people could express themselves in a way that was noticed by their over rulers and which included all people taking part in the revolution.
This violent theme continues to be prevalent within rap music because just recently have white capitalists overtaken ownership of many of these artist’s recording labels, thus selfishly dictating how the music must be portrayed in order to produce revenue. Within this rhythmic poetry, artists will assume hyper-masculine roles in demands of a respected reputation and an attempt to disrupt peace solidified and enjoyed by the racially privileged. This only reinforces and attempts to justify institutional interventions, such as racial policing, police brutality, and high incarceration rates, in which Rebollo Gil and Moras refer to as “hip hop in crisis” (2012, pg. 120). Today, rap music continues these same narratives, while other musical genres, such as heavy metal group, Metallica, have also became more active in describing violence through song lyrics, although they experience far less criticism and branding from audiences when doing so. There is an assumed exception among white critics and white artists themselves who deem their expression of violence as more appropriate than rap’s, simply because they lack imposing stigmas attached to their race and
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
“Music is uniquely wonderful. It is incapable of being touched yet it touches everyone who is capable of hear sounds. It can seemingly evoke any emotion; we instinctively respond to happy tunes, mournful songs, beautiful melodies, inspiring anthems, stirring hymns, and majestic orchestrations.” (Doolan, Robert. 1985) There is no question that music is great part of society; it has been at civilization’s side whether it be the lyres and flutes of the ancient Greeks or how it calms or excites emotions and keeps armies in order during battle. Within society, there has also been social unrest and the desire for change. Protesting is the expression of a society’s concerns on current events of which they feel affected by whether it be through public rallies, picketing, riots or even bombings. Protest through music is one powerful medium for engaging people. Amidst what life throws at individuals, music has comforted the soul, provoked individualistic thought and opinion, and music draws people together through groups alike who have the same attachment or concerns with their surroundings. Whether it be rock, jazz, blues, rap, hip hop, dance, spiritual, or world, music has inspired artists to spill out their expression and views of society. Music is a universally effective tool of protest in generating social change and unrest as it continues to unite those with like ideas.
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
From the official language being a European language in countries like Angola and Zimbabwe, to the evolvement of new, western-influenced music in South Africa, Colonialism has left an imperative mark on the countries of Africa. Evidently, the people of Africa are made up with the great influence of the Colonial times and most of their music known today has been birthed or influenced by the settlers. There are many layers that the Europeans have embedded their beliefs on the people. It cannot be denied that music is a subtle tool of the European colonists to integrate their beliefs into the African people. Chikowero said that the colonists used music "as a weapon to undermine African sovereignty and, on the other, how Africans similarly deployed their musical cultures to tell their own stories, reclaim their freedom, and reconstitute their being” (Chikowero 2, 65). While the debates ensue of the tainting of traditional African music, it cannot be denied that the Era of Colonialism has imprinted deeply in the music of the
Fullen, Matthew. "Characteristics of West African Music | EHow." EHow. Demand Media, 02 June 2011. Web. 18 Nov. 2013. .
In the West African heritage, music is an art that spreads through social life and is believed to be crucial for supporting community life. Just as at the time when a baby is born, its cry is an indication that the newborn is alive same way music is considered an expression of “...
Music is intimately linked and reinforces South Africa’s history of deep divisions of race, class and gender. To illustrate how South Africa’s history, of the blacks fighting for freedom and justice embodies South African music, this paper will focus on two prominent musical groups who changed South Africa for the better. First to be discussed is Orpheus McAdoo, an African American singer from Virginia who successfully toured South Africa with his Virginia Jubilee singers. He became the most publicized Afro-American minstrel performer for his contributing modern harmonic concepts and structures to South African music. The other musical group who impacted South Africa, was a nine-member cappell...
[a] scholar that applies extraneous research methodology and theoretical paradigm to investigate another culture is likely to misinterpret, undermine, abuse or out-rightly miss the manifestations of the intellectual integrity of Africa’s mental arts and products. What a person hears or perceives is often distorted by what that person is uncultured or trained to hear in music (2004,
...He thinks he does, but in reality he doesn’t. Professor Gatuirira is trying to create a lie, but he doesn’t know he is. Music can create art “for many human voices” when it is true. The art the professor is trying to create is false. It is a cross over from American culture to African culture. He has “yet found the tune” because it is all white wash. Nothing that the professor studies to create his national anthem is relevant to his current situation. Even though he thinks it is right to create a national anthem, there is a flipside to this. That reality that the professor fails to see includes factions and class struggle. Africa is plagued by gender and sexism. It makes it difficulty for women to find jobs. The exploitation of middle and lower class by the upper class is selfishness. The selfishness leads to high corruption because everyone is trying to get rich. Nothing of what the professor wants the people to sing is true.