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University Library, University of Illinois at Urbana-Champaign

Music, Politics, and the Public Sphere (Class): Course Tasks (Week by Week)

Music is often associated with the creativity, pleasure, leisure, and aesthetic appreciation, while politics are associated with the organization of public life. What then might be the relationship between music, politics, and the public sphere?

Class 2: Tuesday, January 26 Music, Politics, Identity.

Class 2: Tuesday, January 26
Music, Politics, Identity. 

Readings:
- Street, John.  (2012). Music and Politics. Cambridge: Polity Press. “Introduction: making connections (Pp. 1-9);” from chapter 8 “Politics as music: the sound of ideas and ideology” Pp. 140-156; chapter 9: “One more time with feeling - music as a political experience.” Pp. 160-173. Malden, MA: Polity
- Frith, Simon. (1996) “Music and Identity.” In Questions of Cultural Identity, Hall Stuart & Paul Du Gay, eds. Pp. 108-127. London and Thousand Oaks: Sage Publications. 
- Thomas Turino. (2008) Music as Social Life: The Politics of Participation. From “Introduction – why music matters:” Pp. 1-20; Chapter 7: Music and Political Movements Pp. 189-219. Chicago: University of Chicago Press. 
- Amy Scholder, ed. Pussy Riot: A Punk Prayer for Freedom. “Preface” Pp. 7-10 “Virgin Mary, Put Putin Away.” Pp. 13-14. “Letters by Nadya in Prison” Pp. 20-22 & 26-29. “Opening Courtroom Statement by Nadya” Pp. 41-47. “Exerpts from the Court Transcripts” Pp. 49-54. “Closing Courtroom Statement by Nadya.” Pp. 91-103. 
- Steinholt (2012). “Kitten Heresy: Lost Contexts of Pussy Riot’s Punk Prayer.” Popular Music and Society, 36:1 Pp. 120-124.

Music/Film:
In class viewing: Pussy Riot documentary 

Street -
Bruce Springsteen: Born in the USA. 

Turino –
Dixie – Anthem of the confederacy
Charlie and his Orchestra: You’re driving me crazy.
The Internationale (in English)
Gretha Boston – I’m gonna do what the spirit says
Pete Seeger (in lieu of Bernice Reagon) – We are moving on to victory

Pussy Riot Readings-
- Pussy Riot on 60 minutes: http://search.alexanderstreet.com.proxy2.library.illinois.edu/view/work/2767382

Class 3: Tuesday, February 2 Music & Identity; power and hegemony; political economy

- Attali, Jacques. (1985). Noise: The Political Economy of Music. Chapter 1: Listening. Pp. 3 – 20. Minneapolis: University of Minnesota Press. 
- Hall, Stuart. (2001) “Foucault: Power, Knowledge and Discourse.” In Discourse, Theory and Practice: A Reader. Wetherell, Margaret, Stephanie Taylor and Simeon J. Yates, eds. London and Thousand Oaks, California: Sage Publications.  Pp. 72 – 81.
- Hall, Stuart. (1997) “Subjects in History: Making Diasporic Identities.” In The House that Race Built: Black Americans, US Terrain. New York: Pantheon. Pp. 289-300.
- Shank, Barry. (2014). The Political Force of Musical Beauty. Chapter 1: Listening to the Political. Pp. 10 – 37. 
- Averill, Gage. (1997). A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti. Chicago: Chicago University Press. Preface: xi-xv Introduction: P. 1-22. From Chapter 4: “Musicians Are a Single Family” - Critical Discourse in Music Under Baby Doc Duvalier Pp. 108-110 & “We Won’t Forget”: Urban Sanbas and Their New Vodou Subculture” Pp. 131-140; “Let Us Pass and the Fall of Baby Doc” Pp. 154-160. From Chapter 5: “Watch Up for Them – Dechokaj and Its Aftermath” Pp. 161-162. “We’re Not Afraid This Year: Mizik Rasin on the Offensive” Pp. 177-183.
- Belkind, Nili. (2010) Short excerpt from my MA Thesis on Haitian musicians in diaspora – [Dadi Beaubrun and Mizik Rasin].

Music:
Averill – 
Bossa Combo – Joanne
Tabou Combo – Bese Ba
Boukman Experyans – Nou Pap San Bliye
                  -- Ke m Pa Sote

Class 4: Tuesday, February 9 Music, Place and Nation making 1 (Classical music focus)

Readings:
- Anderson, Benedict. (1983/1991) Imagined Communities: Reflections on the Origin and Spread of Nationalism. London and New York: Verso. Introduction: Pp. 1-7; Chapter 3 – “The Origins of National Consciousness” Pp. 37-46; Chapter 10 – “Census, Map, Museum” Pp. 163-185; Chapter 8 – “Patriotism and Racism” Pp. 141-154.
- Revill, George. (1998).  “Music and the Politics of Sound: Nationalism, Citizenship, and Auditory Space.” Environment and Planning D: Society and Space 18: 597-613.
- Bohlman, Phillip. (2004) Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara, CA, Denver, CO & Oxford, UK. ABC-CLIO, Inc. Chapter 2: “The European Nation State in History.” Pp. 35-80. From Chapter 3: National Music – “Music and the Evolving Nation / Stages Along the Evolutionary Path of Folk Music/ National Folksong Collections / Contested Borders” Pp. 89-96.

Music:
Reville -
Vaughan Williams: Norfolk Rhapsody #1 (London Philharmonic Orchestra)    
Vaughan Williams: The Lark Ascending    13:20    
Vaughan Williams: In The Fen Country    17:44    (London Philharmonic Orchestra)    
Samuel Coleridge Taylor – Hiawatha’s Wedding Feast (360p) 29:24                            

Bohlman chapter 2 –
1. Tzarina Milica And Duke Vladeta (Epic Ballad)        
2. Kantele (Epic Ballad)        
3. Maaliman Synty (The Birth of the World) (Epic Ballad)        
6. Desperados y Toque Processonal (Chorus)        
31. Song From Vespers (Chorus)        
32. Santa Maria Song (Calabria)    (Chorus)                 
34. Kaiser-Quartett by Haydn                
33. I Wake Before The Dawn (Croation Folk Song Basis of KQ)
35. Emperor's Hymn Republik von 1848    

Class 5: Tuesday, February 16 Music, Place and Nation 2: complicating the ‘nation’ paradigm

Readings:
- Stokes, Martin. (1994).  Introduction: Ethnicity, Identity, Music. In Ethnicity, Identity and Music: the Musical Construction of Place. M. Stokes, ed. Pp. 1-27. Oxford, UK; Providence, RI: Berg.  
- Bohlman, Phillip. (2004) Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara, CA, Denver, CO & Oxford, UK. ABC-CLIO, Inc. Chapter 1 (Eurovision): “Music and Nationalism – Why Do We Love to Hate Them?” Pp. 1-35
- Belkind, Nili (2010). “A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab duo Achinoam Nini and Mira Awad’s Representation of Israel at Eurovision 2009.” Current Musicology 89: Pp. 7-31. 
- Thomas Turino. (2000). Nationalists, Cosmopolitans, and Popular Music In Zimbabwe. Chicago: University of Chicago Press. Introduction: Pp. 3-30. From Chapter 7: On the Margins of Nationalism: Acoustic Guitarists and Guitar Bands of the 1960s. Pp. 223 – 231 & 255 – 261. From Chapter 8: “Stars of the Seventies:” Mapfumo: Chimurenga Singer and Song Texts Pp. 268 – 276 & 284-289; Oliver M’tukudzi Pp. 294-300; Musical Nationalism and Popular Music Pp. 307 -308. From Chapter 9: Popular Music After 1980: Thomas Mapfumo and World Beat – end Pp. 336 -354.
- Swedenberg, Ted. (1997). “Saida Sultan/ Danna International: Transgender Pop and the Polysemiotics of Sex, Nation, and Ethnicity on the Israeli-Egyptian Border.” The Musical Quarterly 81 (1): 81-108.

Music:
Bohlman - 
Eurovision 2001 Estonia - Tanel Padar & Dave Benton – Everybody
Eurovision 2001 Bosnia-Herzegovina - Nino Prses – Hano
Eurovision 2002 Latvia - Marie N - I wanna
Eurovision 1979 Israel - Gali Atari Halluia
Eurovision 1998 Israel - Dana International - Diva

Belkind –
Achinoam Nini & Mira Awad representing Israel 2009

Turino -
Bhundu Boys - Jit Jive
Stella Chiweshe – Chachimurenga
Thomas Mapfumo - Ngoma Yarira
Thomas Mapfumo – Hokoyo
Thomas Mapfumo – Disaster
Thomas Mapfumo – Africa Calling
Oliver Mtukudzi –Ziwere
Oliver Mtukudzi – Mutavara

Swedenberg –
Dana International - Quest Ce Que C’est (1994)
Dana International – Arusa

Class 6: Tuesday, February 23 Music and the Nationless: The Roma

Readings:
- Bohlman, Phillip. (2004) Music of European Nationalism: Cultural Identity and Modern History. Santa Barbara, CA, Denver, CO & Oxford, UK. ABC-CLIO, Inc. Chapter 6: “Europeans Without Nations: Music at and Beyond the Borders of Nation-State.” Pp. 209 – 271.
- Imre, Anikó.  (2006). “Play in the Ghetto: Global Entertainment and the European ‘Roma Problem’.” Third Text 20 (6). Pp. 659-670.
Imre, Anikó.  (2008). “Roma Music and Transnational Homelessness.” Third Text 22 (3): Pp. 325-336. 

Music/ film:
In class viewing: Latcho Drom

Bohlman –
Track 14. Jedlicka
Track15. Ve Skalici Na Rinecku Sa O D'ivecku
Esma Redzepova – Djelem Djelem (Roma anthem)*
Wimme Saari -Saami yoiking
Track 16. To GroBwardein*
Track 10. Rom Village Wedding Dance*
Track 4. Randnalied (Radna Song)
Track 28. Hanukah Song
Track 29. We Have A Land
Track 30. Romanian Folk Song

Imre -
L L Junior featuring Kamikaze
Syndrom Snopp – Apokalypse
Fekete vonat-hol van az a lány
Gypzy cz - Romano Hip Hop
L L - Junior Ame le Roma
Ojos de Brujo - Rumba del Adios
Ibolya Olah - Magyaroszag
Caramel - Mennem Kell
Gaspar Gyozo – Fogyni volna jo
Nyócker - Forog a pénz!

Lelo Nika with Jay Rodriguez & Helio Alves

Class 7: Tuesday, March 1 Music and ethno-national conflict 1 (initial theorizations; case studies in the music of [the defunct] Yugoslavia of the 1990s).

- O'Connell, John Morgan. (2011). “Music in War, Music for Peace: A Review Article.” Ethnomusicology 55 (1): Pp. 112-127.
- Hayden, Robert M. “Imagined Communities and Real Victims: Self Determination and Ethnic Cleansing in Yogoslavia.” American Ethnologist 23 (4) 783-801. 
- Pettan, Svanibor. (1998) “Music, Politics and War: Views from Croatia in the 1990s, an Introduction.” In Music, Politics and War: Views from Croatia. Institute of Ethnology and Folklore Research: Zagreb, Croatia. Pp. 9-28.
- Baker, Cathrine. (2010). Sounds of the Boderland: Popular Music, War and Nationalism. Chapter 1: “Music at Arms: The Presidential Narrative of War.” Pp. 11-54. Chapter 6: Music Without Borders? After the Disintegration of Yugoslavia. Pp. 175-210. Conclusion: Pp. 211-216. 
Cvoro, Urus. (2014). Turbo-folk Music and Cultural Representations of Identity in former Yugoslavia. Surrey, England and Burlington VT: Ashgate. Introduction: The 3 stories of turbo-folk Pp. 1-28 & Chapter 2” Remember the 90s? Turbo Folk as the Vanishing Mediator of Nationalism.” Pp. 55-80.
[-Kronja, Ivana. (2004). “Turbo Folk and Dance Music in 1990s Serbia: Media, Ideology and the Production of Spectacle.” Anthropology of East Europe Review 22 (1): 103-114. 
Or: Hudson, Robert. (2003) “Songs of Seduction: Popular Music and Serbian Nationalism.” Patterns of Prejudice 37 (2): 157-176.] 
- Sugerman Jane “Kosova Calls for Peace: Song, Myth and War in the Age of Global Media.” (2010). In Music and Conflict. O’Connell, John Morgan and Salwa El-Shawan Castelo Branco, eds. (2010). University of Illinois Press. Pp. 17-45.

Elective reading from an ethnologist who became a refugee during the war
 
- Hadzihusejnovic-Valasek Miroslava. (1998). “The Osijek War-Time Music Scene 1991-1992.” In Music, Politics and War: Views from Croatia. Institute of Ethnology and Folklore Research: Zagreb, Croatia. Pp. 163-184.

Music:
Pettan -
- Goran Bregovic tracks
[Time of the Gypsies Full Video:
https://www.youtube.com/watch?v=S9JBbPEXRVI&spfreload=10]
-    Zlatni  Dukati (tamburica ensemble) – bane
-    Duka Caic Hrvatine (brave Croats)
-    Psihomodo Pop Hrvatska mora pobijediti
-    Tomiclav Ivcic Stop the War in Croatia
-    Mile Krajina – gusla virtuoso
-    Ustaska - Past ce bomba na beograd (bombs will fall on belgrade)- enemy intercommunication
-    Cekam te (Lili Marlene)
-    (Marko Perkovic) Thompson - Bojna Cavoglave (Cavoglave Battalion)

Baker (chapter 1)
-    Tomislav Ivcic Stop the war in Croatia
-    Hrvatski Band Aid – Moja Domovina
-    Stublic moj druze beogradski – (oh my Belgrade mate)
-    Dani Marsan – boze cuvaj Hrvatsku (God Save Croatia)
-    Miroslav Skoro – ne Dirajte
-    Doris Dragovic –Dajem ti srce (My country I give you my heart)
-    Drazen Zanko - Od Stolzeca
-    Bosko Landeka - Sve Cemo vam prste (we’ll break all your fingers)
-    Miso Kovac – Grobovi
-    See Pettan on Thompson
-    Zlatne Dukati – Vukovar Vukovar
-    Thompson – Ne Varaj Me (don’t trick me)

Baker (chapter 6)
-    Neda Ukraden *
-    Lena – Don’t Ever Cry (Croatia 1993 Eurovision entry)

Cvoro Intro:
Hudson:
-    Tamo Daleko
-    Mirjana Aleksic – sropinjica jedna Mala
-    Ceca – Turbofolk
-    Bajaga – Moji Drugovi

Kronja:
-    Ceca - Nevaljala (1998) [turbofolk]
-    Ivan Gavrilovic - Hocu s tobom da djuskam (I want to dance with you)
-    Miroslav Ilic - Nije zivot jedna zena (Uzivo) 

Sugerman:
-    Kosova Calls for Peace
-    Adelina Ismaili-Uragan cohen krenaret
-    Nysret Muçiqi - Tre mije vjet me plis te bardhe 
-    Suzana Tahir –  Sylaj
-    Arif Vladi - Marshi i UCiK 
-    Leonora Jakupi - A vritet pafajsia
-    Adelina Ismaili and Beka – Boll Ma! (Enough)

Class 8: Tuesday, March 8 Music and ethno-national conflict 2: Israel-Palestine (Annotated bibliographies due today!)

Readings

- Nili’s super-brief historical summary of the conflict & associated musics.  
- Shlaim, Avi. (2001). The Iron Wall: Israel and the Arab World. New York: Norton and Company Inc. Prologue: The Zionist Foundations Pp. 1-27. From Chapter 6: Poor Little Samson Pp. 241 (The Six Day War) – 250. Epilogue: Pp. 597-609.
- Khalidi, Rashid. (2010/1997). Palestinian Identity: The Construction of Modern National Consciousness. From Preface: II Pp. xi-xiii. From Chapter 1: Introduction. Pp. 1-6. From Chapter 2: Pp. 9-28. From Chapter 8: The ‘disappearance’ and reemergence of Palestinian Identity. Pp.192-209. 
Bickerton, Ian. (2009). The Arab Israeli Conflict. London: Reaktion Books. Conclusion: Pp. 221-226  
-Regev, Motti. (2000). “To have a Culture of Our Own: On Israeliness and Its Variants.” Ethnic and Racial Studies 23 (2): 223-247. 
- McDonald, David. (2013). “Performative Politics: Folklore and Popular Resistance during the First Intifada.” In Kanaaneh, Moslih, et al. Palestinian Music and Song: Expression and Resistance Since 1900.  Bloomington and Indianapolis: Indiana University Press. Pp. 123-140. 
- McDonald, David. (2008-2009). “Carrying Words Like Weapons: Hip Hop and the Poetics of Palestinian Identities in Israel.” Min-Ad: Israel Studies in Musicology Online 7: 116-130.  

[-or-
McDonald, David. (2013). My Voice is My Weapon: Music, Nationalism and the Poetics of Palestinian Resistance. Duke University Press. Epilogue: 231-261. & Chapter 9: “’Carrying Words Like Weapons’: DAM brings hip hop to the West Bank.” Pp. 262-282.] 
- Belkind, Nili. (2014). Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production. Doctoral Dissertation, Columbia University. From “Introduction”: Pp. 1-36. Chapter 2:  “Arab-Jewish Music Making and Cultural Policy in Israel: A Politics of Coexistence, Multiculturalism and Inclusive Citizenship.” Pp. 124-188. 

Music:

In Class Viewing (if time): Slingshot hip hop

Regev:
Arik Einstein – Ruti
Shalom Hanoch – End of the Orange Season
Yehuda Poliker – Window to the Mediterranean
Zohar Argov – Sod HaMazalot

McDonald 2013 -
Muhammed Abed EL-Wahab – Falastin
Palestinian Dabke

McDonald 2012 -
DAM – born here
Datz Duo at Eurovision – born here

Belkind Introduction -
Various  - the Jewish Arab Peace Song

Belkind Chapter 2 -
Voices of Peace – Zaman El-Salaam
Shirana – Had Gadya

Class 9: Tuesday, March 15 Post 9-11 world I: Music, political violence, censorship

Readings:
- Korpe, Marie, Ole Reitov, and Martin Cloonan. (2006). “Music Censorship from Plato to the Present.” In Music and Manipulation: On the Social Uses and Social Control of Music. Brown, Steven and Olrik Volgsten, eds. Chapter 9: Pp. 239-263.
- Baily, John. (2009). “Music and Censorship in Afghanistan, 1973-2003” In Music and the Play of Power in the Middle East, North Africa and Central Asia. Nooshin, Laudan, ed. London: SOAS. Chapter 5: Pp. 143-163.
- Doubleday, Veronica. (2007). “9/11 And the Politics of Music Making in Afghanistan.” In Music in the Post-9/11 World. Ritter, Jonathan & Martin Daughtry, eds. NY: Routledge. Chapter 12: Pp. 277-314. 
- Liners for Homayun Sakhi Cd. 
- Garofalo, Rebee. (2007). “Pop Goes to War, 2001-2004. US Popular Music After 9/11.” In Music in the Post-9/11 World. Ritter, Jonathan & Martin Daughtry, eds. NY: Routledge. Chapter 1 Pp. 3-26.
- Scherzinger, Martin. (2007). “Double Voices of Musical Censorship After 9/11.” In Music in the Post-9/11 World. Ritter, Jonathan & Martin Daughtry, eds. NY: Routledge. Chapter 5: 91-122.


Music:
In class viewing: Agha Khan documentary on the life and music of Homayun Saki
Doubleday -
Ustad Awalmir - Da zemung zeba watan
Malang Kohistani - Kabul Transit
Ustad Amir Mohammad - Aay wah gula man.
Garofalo – 
Michael Jackson – what more can I give

From Tribute to the Heroes:
    Bruce Springsteen – My City of Ruins
    Alecia Keys – Someday we’ll all be free
    U2 – Walk on HD
    Neil Young – Imagine
Stevie Wonder – Love’s in need of love today
Willie Nelson - America the Beautiful

From Concert for New York City:
    Trailer
    Bon Jovi – 9/11 Photo Album
    Eric Clapton and Buddy Guy
    The Who
Paul McCartney – Freedom

Darrel Worley – Have you forgotten
Lee Greenwood – God Bless the USA
Aaron Tippin - You’ve got to stand for something
Ray Stevens – Osama Yo Mama
Steve Earle – John Walkers Blues
Beastie Boys – In a world gone mad
Dead Prez – Propaganda
Sage Francis – Makeshift Patriot

Scherzinger - 
Rage Against the Machine – Killing in The Name
System of A Down – Boom!
Dixie Chicks – Landslide
Dixie Chicks – Travelin Soldier
Death of Klinghoffer – Chorus of Exiled Palestinians
Madonna – American Life

Class 10: Tuesday, March 29 Post 9/11 world II: sonic life of the ‘Global War on Terror’

Readings:

- Averill, Gage. (2007) “Foreward: Attack and Decay: A Sound Account of 9/11 and its Repercussions.” In Music in the Post-9/11 World. Ritter, Jonathan & Martin Daughtry, eds. NY: Routledge. Pp. ix – xviii.
- Cusick, Suzanne G. (2008). “You are in a place that is out of the world . . . ”: Music in the Detention Camps of the ‘Global War on Terror’.” Journal of the Society for American Music 2 (1): 1–26.
- Daughtry, Martin. (2015). Listening to War: Sound, Music, Trauma and Survival in Wartime Iraq. New York: Oxford University Press. Introduction Pp. 1-26; Fragment # 1  -- Ali’s Story Pp. 27-30. From chapter 1 – the Elements of Wartime Audition Pp. 33-36 & Pp. 51 (amplified voices and other signals outside of vehicles)-62. From Chapter 2 – Mapping Zones of Wartime Audition Pp. 88 (tactile zones)-102. Fragment 2 (Jason’s story) Pp. 103-109; Chapter 3 – Auditory Regimes pp. 128-158. From Chapter 4 - Sonic Campaigns Pp. 159-170 & 176 (amplified sound)-182. Chapter 6 -- Mobile Music in the Military Pp. 219-247. Chapter 7: A time of Trouble for Iraqi Music Pp. 258-270. 
- Badawi, Samer. (2014). “This is what Life in Gaza Sounds Like.” http://972mag.com/this-is-what-life-in-gaza-sounds-like/95292/

Film, Music:
In class viewing: documentary on musician Christopher Cerf, who has composed music for the children's television show Sesame Street for 40 years. Cerf follows how his music from Sesame Street has been used to torture detainees at Guantanamo Bay and Abu Ghraib.
http://www.aljazeera.com/programmes/aljazeeraworld/2012/05/201253072152430549.html
Averill –
Laurie Anderson - O Superman
Wendy Mae Chambers – New York

Daughtry (chapter 6) – 
Dead Kennedys – Kill the Poor
Dean Martin – You’re nobody till somebody loves you
Stealers Wheel – Stuck in the middle with you
OutKast – Bombs over Baghdad
AC/DC – Hell’s Bells

Daughtry (chapter 7) – 
Raed George - Baghdad

Class 11: Tuesday, April 5 Music and governmentality

Readings:

- Miller, Toby and George Yùdice. Cultural Policy. Sage Publications: London and Thousand Oaks. “Introduction: The History and Theory of Cultural Policy” Pp. 1-34. 
- Bennett, Tony (1992) “Putting Policy into Cultural Studies.” In Cultural Studies. L. Grossberg, C. Nelson, and P.A. Treichler, eds. Pp. 23-37. New York: Routledge. 
- White, Bob E. (2008). Rumba Rules: The Politics of Dance Music in Mobutu’s Zaire. Durham and London: Duke University Press. Chapter 1: Popular Culture’s Politics Pp. 1-26. From chapter 2: The Zairian Sound Pp. 29 (popular music and genre)-58. From Chapter 3: Made in Zaire Pp. 65-82. From Chapter 5: Musicians and mobility Pp. 150 (Prayer, Leopard, Insecticide) – 164. From chapter 6: Live Texts Pp. 165-178. Chapter 7: The Political Life of Dance Bands. Pp. 195-223. Chapter 8: In the Skin of a Chief Pp. 226-252

Music

White Chapter 1
JB Mpiana & Wenge Musica – TH

White Chapter 2
Wendo – Marie Louise
Gran Kalle & African Jazz – Lipopo Ya Bangana
Franco & OK Jazz – Testament
Franco & OK Jazz – Suite Lettre No. 1
Tabu Ley Rochereau – Lisanga ya Bangana
Zaiko Langa Langa – Nioka Longo

White Chapter 3
Papa - Wemba’s Animation
Franco – Colonel Bangala

White chapter 6
Defao & Big Stars – Alain Mbiya
Viva la Musica – Sango Pamba
Werra Son – 13 Ans

White Chapter 8
Franco against AIDS

Class 12: Tuesday, April 12 Music, Social Movements and Change 1: The Arab Spring

Readings

-    Noueihed, Lin and Alex Warren. (2012). The Battle for the Arab Spring: Revolution, Counter Revolution, and the Making of a New Era. New Haven, CT and London: Yale University Press. Introduction: Pp. 1-8. Chapter 1 “An Arab Malaise” Pp. 9-23. Chapter 3 “The Media Revolution.” Pp. 44-59. Chapter 5 “Egypt: The Pharaoh Falls.” Pp. 96-134.
-    Salih, Ruba and Sophie Ruchter-Devroe. “Cultures of Resistance in Palestine and Beyond: On the Politics of Art, Aesthetics and Affect.” Arab Studies Journal 22 (1) 8-27. (possibly an alternative reading to “the pharaoh falls”) 
-    LeVine, Mark (2015). “When Art Is the Weapon: Culture and Resistance Confronting Violence in the Post-Uprisings Arab World.” Religions 6, 1277–1313.
-    Swedenburg, Ted. (2012). “Egypt’s Music of Protest: From Sayyid Darwish to DJ Haha.” Middle East Report 265: 39-43.

Lenin: music is the festival of the oppressed. 

Music: TBD

Class 13: Tuesday, April 19 Music, Social Movements and Change 2: South Africa

Readings:

- Ansell, Gwen. (2004). Soweto Blues: Jazz, Popular Music, and Politics in South Africa. New York: Continuum. Chapter 5: “Underground in Africa” Pp. 143-179 and Chapter 6: “Jazz for the Struggle and the Struggle for Jazz” PP. 180-220.
- Meintjes, Louise. (1990). “Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34 (1) 37-73.
- Meintjes, Louise. (2003). Sound of Africa! Making music Zulu in a South African Studio. Durham and London: Duke University Press. Demo Tape: About the Sound of Africa Pp. 1-18. [maybe: Cut 3: Producing Liveness Pp. 109-145]. Cut 5: Performing Zuluness: Pp. 174-216.

Music:
In class viewing: Amandla! Revolution in 4 part harmony.

Other: TBD.

Class 14: Tuesday, April 26 Catch up and sharing of papers

Class 15: Tuesday May 3 Sharing of papers