Music is not a new happening in the world, but has a rather deep history. Lovers of music, including composers, singers, and listeners always have various reasons as to why they are attracted to music. However, the music industry has always attracted critics with some claiming that music classes are a waste of time and that the major aim of music is to enhance life enjoyment. In this essay, I will argue that in real sense, music can be much more than just sweet melodies and dances can be more than just good moves; music and dances play vital roles in the social, cultural, and political lives of people or communities.
In regards to Uganda’s history, music has significantly played the role of combating social injustices and problems especially with regards to gender violence and HIV/AIDS. For instance, Philly Lutaaya greatly used his music as a medium to spread the HIV/AIDS message throughout Uganda (Isabirye 29). HIV/AIDS is regarded as one of the major epidemics in the world. With people having scarce knowledge about it, Philly Lutaaya decided to give a helping hand in spreading the message. Other than being eulogized as one of the founders of Ugandan contemporary music, Lutaaya’s legacy is majorly in the pioneering campaigns about HIV/AIDS in Uganda (Isabirye 29). Lutaaya used his music talent by touring around Uganda “during which he both performed his music and gave HIV/AIDS-related speeches” (Isabirye 33). The most current example is the Agonga Youth Alliance (AYA) of Uganda who have decided to use art in sensitizing people about HIV/AIDS (El-Bushra and Dolan 43). Most importantly, music has become the major tool in empowering discriminated groups in the society. The musical performances of many women’s groups now complement ...
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...nd Chris Dolan. “Don’t Touch, Just Listen! Popular Performance from Uganda.” Review of African Political Economy, 91 (2002): 37-52. Web. 11 Dec. 2013.
Isabirye, Joel. “Philly Lutaaya: Popular Music and the Fight against HIV/AIDS in Uganda.” Journal of Postcolonial Writing, 44.1, (2008): 29–35. Web. 11 Dec. 2013.
“No One will Listen to Us Unless we Bring Our Drums.” AIDS and Women’s Performance in Uganda, (n.d.): 77-108. Web. 11 Dec. 2013.
Wadiru, Stella. “Sounding the War: Acholi Popular Music in the Peace Process in Northern Uganda.” Ethnomusicology in East Africa: Perspectives from Uganda and Beyond, (n.d.): 177-187. Web. 11 Dec. 2013.
Tamusuza, Sylvia Nannyonga. “Gender, Ethnicity and politics in Kadongo-Kamu Music of Uganda: Analysing the Song Kayanda.” Gender, Ethnicity and politics in Kadongo-Kamu Music of Uganda, (n.d.): 134-147. Web. 11 Dec. 2013.
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Lucky Dube is a reggae artist from South Africa singing in a fight against oppression in his country. Like Jamaica, South Africa has been oppressed since the days of the European colonizers. The only difference is some Africans lost their land and others were stolen from their land. In this paper, the reactions of Africans (Jamaicans included) to oppression will be surveyed through politics, religion, and music. This will be done through a comparison of these ideas between South Africa and Jamaica. Both these countries have been subjected to nearly 400 years of oppression of Europeans over Africans.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
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.
Miller, Terry, and Andrew Shahriari. World Music: A Global Journey. New York, London: Routledge Taylor and Francis Group, 2006.
“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.
Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
Global solidarity is an important aspect of social life because it teaches us to understand the unity and wholeness we possess as one human race. We are all one people, despite our many racial, economic, national, ideological, and religious differences. Despite our location or home in the world, we are connected and are each others keepers and protectors, and in the musical Witness Uganda, Griffin and the orphans learn this key lesson. In the beginning, the African orphans in the musical view all Westerners as White, rich, and privileged and Griffin understands most Africans to be poor, in need of Western assistance, and ignorant of the world. After living with one another in Uganda for some time, however, Griffin and the orphans grasp just how similar they are as a human race and how uni...
[F] Even as the children in northern Uganda are living through a nightmare, they still have hope that one day things will get better. [G] In the article “Children of War in Uganda”, after Patrick gets interviewed, Morrison states, “And yet, they smile, they laugh, they sing. Just children, with nothing left but resilience and hope” (Morrison 4). [H] Without hope, these children wouldn’t have much to live for, and they would probably give up because of the nightmare they live in. [I] The students’ goals of being musicians, gives them hope and a way to cope with their hard situation. [J] By practicing every day and chasing their dream of winning the music competition, they are given hope that they will have a better future. [K] In “How We Lose Hope and How to Get it Back”, during the introduction, Joe Wilner writes, “Hope is the life force that keeps us going and gives us something to live for” (Wilner 1). [L] In War Dance the children of the Acholi tribe are living in a nightmare, but their goal of winning the Ugandan Music Competition gives them something that keeps them going. [M] If it wasn't for the joy these kids find in music, they wouldn't have much else getting the up every morning. [N] The dreams they have kept these children in northern Uganda going because it provides them with a pathway to what they want, and it shows them that there is light at the end of the
African music is one that we all know to be upbeat and danceable. I chose to do my African musician research on Jules Shungu Wembadio Pene Kikumba, who is also known as Papa Wemba. I chose him because of the fact that he has recently passed, so me choosing him in a way gives him respect. Papa Wemba was an influential asset of his time due to the fact that he was one of the most prosperous African musicians in world music. He was a famous, sometimes infamous Congolese singer/musician who played illustrious forms of Congolese rumba, soukous and ndombolo forms of music. He was not only a musical icon, but Papa Wemba was very fashionable. Papa Wemba's road to stardom began when he joined the music group “Zaiko Langa Langa,” whose name means
Every West African village had its own professional musicians and singers who would perform for the community. Musicians were idolized in their villages. They normally sat with the king or chief because of their elevated status.
The influence that music has throughout the world is immeasurable. Music evokes many feelings, surfaces old memories, and creates new ones all while satisfying a sense of human emotion. With the ability to help identify a culture, as well as educate countries about other cultures, music also provides for a sense of knowledge. Music can be a tool for many things: relaxation, stimulation and communication. But at the same time it can also be a tool for resistance: against parents, against police against power. Within the reign of imported culture, cross cultivation and the creation of the so-called global village lies the need to expand horizons to engulf more than just what you see everyday. It is important to note that the role of music in today’s world is a key tool in the process of globalization. However, this does not necessarily provide us with any reasons that would make us believe that music has a homogenizing affect on the world.
“Situated at the geographical heart of the African continent, Uganda has long been a cultural melting pot, as evidenced by the existence of 30-plus different indigenous languages belonging to five distinct linguistic groups, and an equally diverse cultural mosaic of music, art, and handicrafts.”(“People and Culture.” Welcome to The Pearl of Africa: official tourism guide from the Uganda Tourism Board”) From its wide variety of different cultures to its mosaic of arts and music, Uganda is still known as the “Pearl of Africa”. Despite the beauty of Uganda, the country faces many problems such as disease, crime, and recovering from inhumane dictatorship. Sadly, many of these problems come from spiritual darkness in the people. Missionary efforts to Uganda will succeed with a greater understanding of its religious history, an awareness of the current religious state, and an increased focus on evangelizing to the lost.
Parrikar, R.P. (2002). South Asian Women Forum. Retrieved February 27, from the World Wide Web: http://www.sawf.org/newedit/edit02182002/musicarts.asp