Songs of Social Protest
Rowman & Littlefield International (Verlag)
978-1-78660-126-1 (ISBN)
AestheticsAuthenticityAfrican American MusicAnti-capitalismCommunity & Collective MovementsCounter-hegemonic Discourses Critical PedagogyFolk MusicIdentityMemoryPerformancePopular Culture
By placing historical approaches alongside cutting-edge ethnography, philosophical excursions alongside socio-political and economic perspectives, and cultural context alongside detailed, musicological, textual, and performance analysis, Songs of Social Protest offers a dynamic resource for scholars and students exploring song and singing as a form of protest.
Aileen Dillane is a Lecturer in Music at the Irish World Academy, University of Limerick, Ireland. Martin J. Power is a Lecturer in Sociology at the University of Limerick, Ireland. Eoin Devereux is a Professor of Sociology at the University of Limerick, Ireland. Amanda Haynes is a Senior Lecturer in Sociology at the University of Limerick, Ireland.
Foreword: Dave Randall / Introduction: Stand Up, Sing Out: The Contemporary Relevance of Protest Song (Aileen Dillane, Martin J. Power, Amanda Haynes and Eoin Devereux) / Part I: Protest and the African-American Experience / Chapter 1: Social Protest and Resistance in African American Song: Traditions in Transformation (Robert W. Stephens and Mary Ellen Junda) / Chapter 2: “You’ll Never Hear Kumbaya the Same Way Again”: The Diffusion and Defusion of a Freedom Song (Robbie Lieberman) / Chapter 3: Billie Holiday’s Popular Front Songs of Protest (Jonathon Bakan) / Part II: Protest Genealogies / Chapter 4: Songs of Social Protest, Then and Now (William F. Danaher) / Chapter 5: Pete Seeger and the Politics of Participation (Rob Rosenthal) / Chapter 6: The Radicalisation of Phil Ochs, the Radicalisation of the Sixties (Anthony Ashbolt) / Chapter 7: Ewan McColl’s Radio Ballads as Songs of Social Protest (Matthew Ord) / Chapter 8: ‘Message Songs are A Drag’: Bob Dylan Protesting Too Much? (Joseph O’Connor) / Part III: Transforming Traditions / Chapter 9: Expressions of Ma?ohi-ness in Contemporary Tahitian Popular Music (Geoffroy Colson) / Chapter 10: Casteism and Cultural Capital: Social and Spiritual Reform through Kabir-Singing in North India (Vivek Virani) / Chapter 11: Singing Against the Empire: Anti-structure and Anti-colonial Discourse in Nineteenth-century Irish Song (Tríona Ní Shíocháin) / Part IV: Freedom and Autonomy / Chapter 12: “Organic Intellectuals”: The Role of Protest Singers in the Overthrowing of the Portuguese Dictatorship, 1926-1974 (Isabel David) / Chapter 13: Singing Protest in Post-war Italy: Fabrizio De André’s Songs Within the Context of Italian Canzone d’Autore (Riccardo Orlandi) / Chapter 14: The Trajectory of Protest Song from Dictatorship to Democracy and the Independence Movement in Catalonia: Lluís Llach and the Catalan Nova Cançó (Nuria Borrull) / Chapter 15: Making the Everyday Political: The Case of Janapada Geyalu [Folk Songs] as Protest Songs in the Telangana State Formation Movement in India (Rahul Sambaraju) / Part V: Politics, Participation and Activism in the Field / Chapter 16: “Freedom is a Constant Struggle”: Performance and Regeneration Amidst Social Movement Decline (Omotayo Jolaosho) / Chapter 17: Cultural Production as a Political Act: Two Feminist Songs from Istanbul (Evrim Hikmet Ögüt) / Chapter 18: Hip Hop as Civil Society: Activism and Escapism in Uganda’s Hip Hop Scene (Simran Singh-Grewal) / Part VI: Semiotics, Mediation and Manipulation / Chapter 19: BOOM! Goes the Global Protest Movement: Heavy Metal, Protest, and the Televisual in System of a Down’s “Boom!” Music Video (Clare Neil King) / Chapter 20: Pussy Riot: Performing “Punkness,” or Taking the “Riot” out of “Riot Grrrl” (Julianne Graper) / Chapter 21: Camp Fascism: The Tyranny of the Beat (Tiffany Naiman) / Chapter 22: Protest Songs, Social Media and the Exploitation of Syrian Children (Guilnard Moufarrej) / Part VII: Protesting Bodies and Embodiment / Chapter 23: “Bread and Roses”: A Song of Social Protest or Hollowed Out Resistance? (Gwen Moore) / Chapter 24: “We Shall Overcome”: Communal Participation and Entrainment in a Protest Song (Thérèse Smith) / Part VIII: Borderlands and Contested Spaces / Chapter 25: The Language We Use: Representations of Morrissey as a Figure of Protest in Queer Latino Los Angeles (Melissa Hidalgo) / Chapter 26: Rising from the Ashes of “The Grove”: The Efficacy and Aesthetics of Protest Songs Represented in Ry Cooder’s Chávez Ravine (Donnacha M. Toomey) / Chapter 27: Mariem Hassan, Nubenegna Records and The Western Saharawi Struggle (Luis Giminez Amoros) / Part IX: Critiquing Capitalism and the Neoliberal Tide / Chapter 28: Against the Grain: Counter-Hegemonic Representations of Pre and Post ‘Celtic-Tiger’ Ireland in the ‘Protest’ Songs of Damien Dempsey (Aileen Dillane, Martin J. Power, Eoin Deverux and Amanda Haynes) / Chapter 29: Bail Out – From Now to Never – A Rhetorical Analysis of Two Songs About Economic Crisis (Michael Hajimichael) / Chapter 30: The Cacophony of Critique: New Model Army’s Protest Against Neo-Liberal Critique (Tom Boland) / Part X: Ideology and the Performer / Chapter 31: “Aesthetics of resistance”: Billy Bragg, Ideology and the Longevity of Song as Social Protest (Martin J Power) / Chapter 32: Straight to Hell: The Clash and the Politics of Left Melancholia (Colin Coulter) / Chapter 33: The Truth Must Be Told So I’ll Tell It: Social Protest and the Folk Song in the Music of Christy Moore (Kieran Cashell) / Discography/Filmography / Bibliography / Index
| Erscheinungsdatum | 07.08.2018 |
|---|---|
| Reihe/Serie | Protest, Media and Culture |
| Zusatzinfo | 2 b/w photos; 9 tables; 6 graphs |
| Sprache | englisch |
| Maße | 153 x 227 mm |
| Gewicht | 898 g |
| Themenwelt | Kunst / Musik / Theater ► Musik |
| Sozialwissenschaften ► Politik / Verwaltung | |
| Sozialwissenschaften ► Soziologie | |
| ISBN-10 | 1-78660-126-5 / 1786601265 |
| ISBN-13 | 978-1-78660-126-1 / 9781786601261 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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