Origins of Protest Music

Mingo, AnneMarie. “Transgressive Leadership and Theo-ethical Texts of Black Protest Music.” Black Theology 17, no. 2 (2019): 91-113.

The article by Mingo and AnneMarie explains the roots and relevance of protest music within the framework of black culture. According to the writers, Black protest music is a type of transgressive leadership that resists repressive structures and promotes social change. The article traces the origins of black protest music, emphasizing how it emerged amid periods of racial and social turmoil like the civil rights struggle. It explores the religious and ethical elements found in the content and lyrics of black protest songs, highlighting their capacity to mobilize the populace and subvert established myths.[1]. Therefore, the authors also stress the need to research black protest music as a unique cultural and religious phenomenon. They contend that researchers may learn a great deal about the experiences and ambitions of black communities and the part played by religion and spirituality in their battle for freedom by analyzing the themes, symbols, and rhetorical devices used in these songs.

Gabsi, Zouhir. “Rap and Mizoued Music: Claiming a space for dissent and protest in post-Arab Spring Tunisia.” Sociological Research Online 25, no. 4 (2020): 626-643.

The article by Gabsi (2020) examines the beginnings of protest music in Tunisia following the Arab Spring and emphasizes its relevance in studying social movements and dissent. The paper investigates how Tunisian musicians have used the two music genres of rap and missed to express disapproval and protest against social and political concerns. The article gives a historical backdrop by examining how music has been used as a tool of resistance in several global social movements. The discussion then focuses on Tunisia, where the Arab Spring sparked a rise in political activity and understanding. According to the author, rap and eclectic music have become potent vehicles for musicians to vent their unhappiness, criticize the establishment, and speak about the issues of oppressed groups.[2]. However, this article’s contribution to our knowledge of protest music as a tool of cultural resistance makes it so important. The research illuminates how musicians have carved out a space for dissent and protest inside the nation by looking at the beginnings and development of rap and missed music in post-Arab Spring Tunisia. It gives insightful information on the relationship between music, politics, and social movements and deepens our knowledge of how cultural expressions influence societal change.

Jenzen, Olu, Itir Erhart, Hande Eslen-Ziya, Derya Güçdemir, Umut Korkut, and Aidan McGarry. “10 Music Videos as Protest Communication: The Gezi Park Protest on YouTube.” The Aesthetics of Global Protest (2019): 211.

The Gezi Park Protest on YouTube” by Janzen et al. examines the use of music videos as a form of protest communication. The article examines ten protest-related music videos and evaluates their effect and message. Beginning with a short history of protest music’s development, the article discusses its significance in social and political movements. It analyzes how music has served as a potent vehicle for dissent, community mobilization, and disseminating anti-authoritarian themes.[3]. Therefore, this article’s emphasis on music videos as a particular kind of protest communication in the digital era makes it significant to the research. The writers shed light on the importance of this medium in forming and spreading the message of the protest movement by scrutinizing the ten music videos produced during the Gezi Park demonstrations. The article focuses on how activists used music videos on YouTube as a forum to air their frustrations, engage with a larger audience, and record the demonstrations.

Jolaosho, Omotayo. “Singing politics: Freedom songs and collective protest in post-apartheid South Africa.” African Studies Review 62, no. 2 (2019): 6-29.

Jolaosho (2019) illustrates that freedom songs and collective protest in post-apartheid South Africa” covers the history of protest music in South Africa and emphasizes its importance in collective protest. The author explores the function of liberation songs in the post-apartheid period, illuminating their origins in history and their influence on political movements.[4]. The historical background of apartheid in South Africa and how it influenced the creation of protest music is covered in the first paragraphs of the article. It explores the history of liberation songs, dating back to the anti-apartheid movement and contemporaneous resistance activities. The author stresses that these songs served as effective instruments for organizing, communicating, and establishing unity among activists rather than just being lighthearted entertainment. The article also emphasizes music’s transforming role in political mobilization, underscoring the significance of the research. It makes the case that liberation songs were crucial in supporting the fight against apartheid and forming the democratic system that followed. These songs’ capacity to express political themes, rally the populace, and foster a feeling of collective identity is shown through the author’s analysis of these songs’ lyrics, melodies, and performance techniques.

Schreiber, Brad. Music is power: Popular songs, social justice, and the will to change. Rutgers University Press, 2019.

Brad Schreiber examines the history of protest music and highlights its relevance in examining social justice movements. By connecting the origins of protest music to folk and blues traditions and illustrating its development and influence on various social and political concerns, Schreiber looks deeply into the historical context of protest music. The article emphasizes the transformational potential of music as a catalyst for change, highlighting its capacity to increase awareness, galvanize communities, and promote unity across various groups. Schreiber demonstrates how protest music has been essential to movements like the civil rights period, anti-war protests, and feminist activism, giving disadvantaged groups and oppressed people a dramatic and evocative voice.[5]. Thus, this article is significant for the study of protest music because it thoroughly examines the historical background of the genre, looks at how music affects society and politics, and acknowledges music as a tool for social change. The article provides light on the complex interrelationship between music, culture, and activism by exploring the history and significance of protest music, providing essential insights into the potential of music as a force for social justice.

Martiniello, Marco. “Music and the political expression and mobilization of second and third-generation immigrants in urban Europe: insights from Liège (Belgium).” Ethnic and Racial Studies 42, no. 6 (2019): 994-1012.

The role of music in the political expression and mobilization of second and third-generation immigrants is explored in the article by Marco Martiniello. The research examines how the musical practices of immigrants of Moroccan and Turkish ancestry influence their political activity and the creation of group identities. The article explores the beginnings of protest music, noting its historical importance as a tool for resistance and community mobilization. It recognizes the transforming potential of music in giving disadvantaged groups, mainly immigrant populations in metropolitan Europe, a feeling of action and belonging. The research highlights how crucial it is to acknowledge music as a form of political expression and comprehend how it affects the social and political environment. [6]. The article’s importance is in illuminating how music, identity, and political activism connect immigrant communities. The study adds to a nuanced knowledge of how cultural activities, like music, may be used to convey political concerns and inspire social change by concentrating on second and third-generation immigrants. It gives a foundation for more study on the function of music in political activity and offers insightful information about the experiences of immigrant populations in metropolitan Europe.

Akingbe, Niyi, and Paul Ayodele Onanuga. “Voicing Protest’: Performing Cross-Cultural Revolt in Gambino’s ‘This is America’and Falz’s ‘This is Nigeria.” Contemporary music review 39, no. 1 (2020): 6-36.

Akingbe et al. article examine the history of protest music and the significance of Childish Gambino’s. Thus, this is America” and Falz’s “This is Nigeria” as examples of modern protest songs. The writers talk about how protest music has a long history that can be traced to some social and political events, such as the American civil rights movement and South African anti-apartheid demonstrations. [7]. Therefore, the significance of these two songs within the framework of international protest music is highlighted in the essay. It examines how musicians and lyricists utilize their works to comment on sociopolitical concerns in their home nations, including racism, brutality, and corruption. The writers contend that these songs are effective instruments for educating audiences, igniting dialogue, and inspiring action. They highlight the songs’ relevance in the modern music scene, where musicians increasingly utilize their platforms to speak out against social injustice and promote reform.

Hawk, Hannah. “The Musical Rhetoric of Aretha Franklin and Nina Simone and the Civil Rights Movement.” (2022).

The study’s importance is emphasized in the article by Hawk (2022), which examines the history of protest music. The author examines Aretha Franklin and Nina Simone’s tremendous voices and the themes in their songs as she focuses on their musical contributions to the Civil Rights Movement. The first part of the essay explores the Civil Rights Movement’s historical background and the need for protest music for its expression and mobilization. It stresses how music evolved into a uniting force that gave musicians a platform to promote social change and ignite action. As it clarifies the creative and rhetorical ploys used by Franklin and Simone, this piece is essential to the study of protest music. By emphasizing artists’ significant role in influencing public awareness, it enriches our knowledge of the relationship between music, politics, and social movements. [8]. The author offers insightful explanations of how music may spur action and catalyzes social change by evaluating particular situations. Overall, the discussion of protest music and its historical relevance within the framework of the Civil Rights Movement has been enriched by this essay.

Neal, Erin. “A change is gonna come: a critical analysis of the benefits of musical activism in the civil rights movement.” Ph.D. diss., Rutgers University-Camden Graduate School, 2021.

According to the article, the author concentrates on the beginnings of protest music and offers a critical examination of the advantages of musical participation during the civil rights struggle. The article investigates the historical background of protest music, connecting its antecedents to folk music, labour songs, and African American spirituals. It explores how underprivileged populations used various musical genres to express their resistance, camaraderie, and empowerment. [9]. The author also explores the role of well-known performers who made significant musical contributions to the civil rights struggle. The beginnings of protest music and its critical role in the movement are discussed in this article, which is essential to studying musical activism in the civil rights movement. The author advances knowledge of how music served as a vehicle for social change and propelled group action at a critical juncture in history by objectively examining the advantages of musical activism. The study is an essential tool for academics researching the connections between music, activism, and social justice since it offers insightful information on the ability of music to mobilize and unify communities.

Neel, Mehak. “Music As A Tool Of Protest And Social Change.” (2020).

The roots of protest music and its role in bringing about social change are examined by Neel and Mehak (2020). The authors begin by tracing the history of protest music from the early days, highlighting its function as a tool for expressing unhappiness and uniting communities. The folk music of the civil rights movement in the 1960s and more recent genres like hip-hop and rap, which continue to address social and political concerns, are discussed as examples of how protest music has changed through time. The significance of protest music as a potent weapon for social activity is emphasized in the essay. It makes the case that music has an extraordinary capacity to uplift and unite people across linguistic and cultural divides. [10]. The authors stress that protest music promotes awareness and builds a feeling of group identification and critical thinking. However, the article’s importance to the research stems from its thorough investigation of the history and influence of protest music. It gives background information, illustrates how relevant protest music is now, and emphasizes how it may lead to social change. This research advances knowledge of protest music’s cultural and sociological relevance and its influence on movements for justice and equality.

Works Bibliography

Mingo, AnneMarie. “Transgressive Leadership and Theo-ethical Texts of Black Protest Music.” Black Theology 17, no. 2 (2019): 91-113.

Gabsi, Zouhir. “Rap and Mizoued Music: Claiming a space for dissent and protest in post-Arab Spring Tunisia.” Sociological Research Online 25, no. 4 (2020): 626-643.

Jenzen, Olu, Itir Erhart, Hande Eslen-Ziya, Derya Güçdemir, Umut Korkut, and Aidan McGarry. “10 Music Videos as Protest Communication: The Gezi Park Protest on YouTube.” The Aesthetics of Global Protest (2019): 211.

Jolaosho, Omotayo. “Singing politics: Freedom songs and collective protest in post-apartheid South Africa.” African Studies Review 62, no. 2 (2019): 6-29.

Schreiber, Brad. Music is power: Popular songs, social justice, and the will to change. Rutgers University Press, 2019.

Martiniello, Marco. “Music and the political expression and mobilization of second and third-generation immigrants in urban Europe: insights from Liège (Belgium).” Ethnic and Racial Studies 42, no. 6 (2019): 994-1012.

Akingbe, Niyi, and Paul Ayodele Onanuga. “Voicing Protest’: Performing Cross-Cultural Revolt in Gambino’s ‘This is America’and Falz’s ‘This is Nigeria.” Contemporary music review 39, no. 1 (2020): 6-36.

Hawk, Hannah. “The Musical Rhetoric of Aretha Franklin and Nina Simone and the Civil Rights Movement.” (2022).

Neal, Erin. “A change is gonna come: a critical analysis of the benefits of musical activism in the civil rights movement.” Ph.D. diss., Rutgers University-Camden Graduate School, 2021.

Neel, Mehak. “Music As A Tool Of Protest And Social Change.” (2020).

[1] Mingo, AnneMarie. “Transgressive Leadership and Theo-ethical Texts of Black Protest Music.” Black Theology 17, no. 2 (2019): 91-113.

[2] Gabsi, Zouhir. “Rap and Mizoued Music: Claiming a space for dissent and protest in post-Arab Spring Tunisia.” Sociological Research Online 25, no. 4 (2020): 626-643.

[3] Jenzen, Olu, Itir Erhart, Hande Eslen-Ziya, Derya Güçdemir, Umut Korkut, and Aidan McGarry. “10 Music Videos as Protest Communication: The Gezi Park Protest on YouTube.” The Aesthetics of Global Protest (2019): 211.

[4] Jolaosho, Omotayo. “Singing politics: Freedom songs and collective protest in post-apartheid South Africa.” African Studies Review 62, no. 2 (2019): 6-29.

[5] Schreiber, Brad. Music is power: Popular songs, social justice, and the will to change. Rutgers University Press, 2019

[6] Martiniello, Marco. “Music and the political expression and mobilization of second and third-generation immigrants in urban Europe: insights from Liège (Belgium).” Ethnic and Racial Studies 42, no. 6 (2019): 994-1012.

[7] Akingbe, Niyi, and Paul Ayodele Onanuga. “Voicing Protest’: Performing Cross-Cultural Revolt in Gambino’s ‘This is America’and Falz’s ‘This is Nigeria.” Contemporary music review 39, no. 1 (2020): 6-36.

[8] Hawk, Hannah. “The Musical Rhetoric of Aretha Franklin and Nina Simone and the Civil Rights Movement.” (2022).

[9]

[10] Neel, Mehak. “Music As A Tool Of Protest And Social Change.” (2020).