Global Citizenship and the Self

I think the discussion we had in class set up the idea behind the fact that musical practices can lead us to act certain ways towards different music styles and thus influence our actions in different situations. For example, participatory music can convince us to live similar lives to the music – when we open ourselves to a communal environment we enable ourselves to unite with the small worlds we live in and around us. In a high fidelity lifestyle, similar to that of American society, we tend to look at things with a sense of how much money or profit can be made off of it. This is why the general idea of participatory music is so new and unfamiliar to us: we’re so used to getting paid for things and thus the practice of everyone being included as opposed to those that have enough money is foreign and almost useless to us. With this, a society can typically base its living habits off of the style of music that is most prevalent within itself. Many African cultures have come up during this class and a majority of them primarily practice participatory qualities in that from a very young age, children are included in rituals and events to better raise them with the quality of community already established for them.

Being a global citizen is understanding and knowing where you come from and stand in comparison to others. To elaborate, however, being a global citizen does not automatically place you into a hierarchical system, but rather it does the opposite. Knowing where you stand does not mean that one must acquire a certain position to be among others but to understand where one currently is to bring others to a similar level and to promote equality and egalitarianism. As with the contra-dance, equality is an incredibly essential quality in that it welcomes everyone without judgment or discrimination. Also, the idea of the contra-dance helps to promote the spread of global citizenship by starting out at a local level. When one goes to a night club, the primary purpose of the establishment is to make money; the music attracts people, special events draw more customers, the bar keeps them hydrated, but this is from a high fidelity perspective of the audience being entertained and the establishment being a performer in this scenario and practicing and rehearsing its part to keep the guests amused while still making a profit. The contra-dance helps promote the start of global citizenship in that everyone becomes a part and an equal amount of enjoyment is had by all.

Much of global citizenship must be started at a local level. Our communities become a part of ourselves and we become a part of the community; both parties influence one another. The community can provide higher quality resources and the consumer can show payment for said resources to influence the production of more and greater resources. It’s almost a positive paradox: the buyer pays the seller so the seller can sell to the buyer for the buyer to purchase in the future and so on. This is incredibly prominent in the presence of the farmers’ market. Farmers bring their products to the markets for the locals to buy and become customers of the farmer. This whole process adds to and builds off of the idea of collective community and participation in one’s area. Instead of going to the local grocery store to get any necessary goods, one can show participation and support for the community in other ways. The local grocery store is high fidelity in that its primary purpose is to make money and it values the growth of the corporation over the appreciation and reaction to the individual customer instead.

Global citizenship requires effort and energy from everyone in a group for the group to truly feel together or for the activity to be useful. Each member must contribute an equal amount for everything to feel right. This also falls into the category of one of the consequences global citizenship: if one doesn’t contribute, the entire community could not feel connected and thus will essentially be stripped of the title of a community. To truly be part of a participatory community that exists within the idea of global citizenship, one must sacrifice individual emotions and feelings for the group’s greater good and well-being. This sacrifice permits egalitarianism to enter and thus welcome everyone equally. Equality, however, may be another consequence for someone who is not used to this lifestyle. The presentational performances we typically attend grant us the opportunity to witness talented performers and virtuosic musicians and thus music becomes a specialist activity. When one enters the field of music within a society similar to this, many enjoy the feeling of being the center of attention and receiving praise for the works they have done. This is not so with an idea of global citizenship; no one is praised as being any higher than anyone else and although every skill level is welcome, the skill level is actually transformed into a comfortability level which is then transformed into a participatory level. However, this idea still does not place any member higher or lower than anyone else on a hierarchical perspective due to the lack of any hierarchy. Any amount of participation is welcomed and expected of just about everyone so even the slightest contribution is enough, given that all effort is given as well.

Contra-Dance and Communal Connection

When I was first told I would be dancing in this class, I thought it would just be an in-class activity. When we were told we would be going out into the town to dance with a few locals, I nearly froze in my steps. I had no idea what learning a new dance style with a bunch of people that new not only how to do it but what the newcomers look like would be like. After a while I just shrugged it off and figured I’d go with the flow of things. It turns out that’s just about all you can do.

When the name Contra-Dance popped in my head, I had no idea what it meant. I heard similar descriptions to square dancing but did not think much more of it. As soon as we walked in to discover a local gymnasium filled with people I will admit I was a bit nervous. Although everyone was learning the upcoming song and dance moves, they all at least had a little bit of a sense of what they were doing. However, as the rest of the class and I slowly snuck our way into the crowds, the tension began to lower. Even the people that seemed extremely experienced were completely willing and loved helping anyone that needed advice and guidance. I thought this was very generous of them to simply selflessly teach us how to move as they do so that we could enjoy the evening as much as they did. I also think there was a sense of them not wanting us to get in there way but disregard that. The idea was that they wanted everyone to feel comfortable with what they were doing and be as connected with the group as everyone else. As opposed to typical nightclubs that I’ve been to, the people in the hall wish to include all attendees in the traditional style and invite people to be a part of what is going on at the time. At many of the dancing events I’ve been to, most of the interaction only happens between you and the partner you’re dancing with at one time, or maybe 2 other small groups around you. This contra-dance has the communal feeling very controlled in that nearly everyone dances with every other person in some way or another at least once.

I think I would definitely attend something like this in the future. I surprised myself with the amount of fun I had. I’ve never had a problem with dancing in general so learning a style that was completely new yet required so little and put no one in the spotlight was something that truly caught my attention. I also really liked the participatory environment. As I’ve stated in previous posts, I like the idea of participatory music as a whole and the whole idea behind participation in communal events. This contra-dance was a perfect example of something I respect and could appreciate, especially if I could get a small group of friends together to join me in the dances. However, just as I learned tonight, the important thing is not to go to show off your moves or expose how virtuosic you can be in either the instrumental or dance realm, but rather to connect with those that you don’t to be a part of a collective whole.

The idea of participatory social gatherings is to be connected with everyone around you. As stated, it is not a talent show but rather a display of skills similar to those around you to feel comfortable and on the same level with other participants. One thing that I experienced as part of this social gathering was a welcoming feeling from the elders who were much more experienced than I was. They understood that I did not know exactly what was doing and then proceeded to ask one of the veteran participants to sit out so that I may learn and enjoy it just as he might. Although I felt guilty for taking this man’s spot, he seemed open to the idea. The feeling I got was that the general intention was for me to learn to promote an egalitarian atmosphere among everyone. I can honestly say this is something I definitely experienced. I think the same goes for participatory music as well. I’ve played with the idea of participatory music in the past (although I did not know exactly what it was referred to at the time) and I am able to understand exactly what the point of it is. In layman’s terms, the idea is to simply enjoy. You are supposed to not only enjoy the music you make with your friends or even strangers but rather to bond with those that you are making the music with. I’ve always thought this idea was interesting and I am extremely glad to say I was able to experience it in a new way that I never really thought about.

Punk and the Connections throughout the World

The Punks Are Alright was probably my favorite documentary that we have seen so far and part of that is probably because I found most of the music to be familiar sounding and most enjoyable. However, I think this one demonstrated a feeling of unification across the world best. Members from three different countries, continents even all seemed to be parent inspirations for one another somehow. The member from Canada was a musician that inspired Brazilian-based Blind Pigs who then were praised by an Indonesian punk fan by the name of Dolly that had connections to another Indonesian group by the name of Superman is Dead. Each group was somehow intertwined into the entire motive behind what punk music is.

As far as youth communities go, the only countries that were really focused on in these categories were Brazil and Indonesia and I can speak from personal beliefs that I used to think Brazil was just a happy-go-lucky tourist country and Indonesia was full of nothing but underpaid laborers and workers, but I did know that both were third-world countries. After watching this film, my perceptions of both places have changed dramatically; even my opinion of punk artists as a whole as changed for the positive. In Brazil, I had no idea how problematic the gang and drug communities can be and how exactly they affect the youth of the area. I thought it was a really emotional scene in which Henrike decided to visit the school he formerly taught at. The fact that he used to be a teacher for the community teacher and a punk rocker was such a cool fact – a hardcore punk musician and a soft-hearted aid to the youth is not a typical combination. The children and faculty were so happy to see him again and they praised his successes. What moved me, however, was when he was talking about how the school was a place to only be visited during the day due the drug dealers invading at night. He went on to speak about how the children were subjected to be dealers themselves – taken control of because they were young and weak but also needing money due to lack of income resources. I was sickened when he said that during school hours, police would come by and throw newspapers on top of another child’s body from the drug situation the night before. I also thought how marvelous it was that Henrike was a sort of counselor for the kids at the school. When he spoke of some of the home situations he has heard and how he wants to help kids get through them and deal with them, I thought that was very selfless of him; all he wanted to do was help the people that have helped him. My original idea that this community is full of goodness was completely shattered and I was so moved when I learned of some of the hardships they face.

My view on the youth culture of Indonesia was barely changed. I still think that many people have to suffer with being poor and underpaid yet still hard-working, however, I never knew how much oppression they had faced now that I know that the range of upper and middle class is so vast. Jerinx and the rest of the Superman is Dead crew can only afford to practice twice a year due to the economical state of the social classes of the country. What also struck me as surprising was the amount of fans and audience members at their shows; many of these people looked so young but they were all there to simply enjoy the music and communal bonding they can experience.

In no way can I relate to the economic and cultural lives of any of the musicians in this movie, however being a musician myself, I know how hard it can be to earn any sort of living or respect in the music scene. People can be very critical and easily swayed toward the negative side of things. Carrying through with exactly what you want to do and love is something that many and almost any musician can and will do. Another way that I can personally relate to the artists in the movie is the attachment to musicians that have inspired them. There are plenty of musicians that have truly inspired me that I regularly talk to, be it for advice, permission for their advice, or even normal everyday conversations. The personalization of musicians is something that I think anyone interested in music should get to do. It’s one thing to receive and autograph from your favorite singer or whatnot, but to be able to personally connect in some way to you favorite band is something truly amazing that everyone should have a chance to do.

When it comes to politics, religion, and other cultural influences, I tend to be one that cannot connect as well with others, but I feel at the same level with some of the people in the documentary. For one, neither Henrike nor Jerinx wish to speak about any sort of religion. They both find them to be such a controversial issue full of argument and hate. As Henrike said, “Two things you don’t discuss, man: one is soccer, the other’s religion. Don’t discuss that or you’ll get into a fight.” I prefer, too to always stay out of the conversation whenever the idea of organized religion comes up because I have a skewed view of it as a whole. I also have the same view of politics. I am not an anarchist or one that hates all government, I just find it all complicated and silly and choose to remove myself from anyone discussion concerning it. With these aspects, I feel as though I was able to connect with the musicians just as they were able to connect to each other and the people and fans that supported them in everything they did in the film.

Hip Hop in Morocco

The documentary I Love Hip Hop in Morocco followed a few Arab hip hop artists and rappers as they attempted to create and sponsor a hip hop festival in a culture where music, let alone hip hop is mostly frowned upon mostly due to the religious state of things. One of the rappers that easily surprised me was a female solo rapper by the name of Fatima. If I remember correctly, she was only 13 years old at the time of filming. What stood out the most to me about her was the fact that not only was she a girl, but the fact that her parents did not instruct her to act differently when she stated that she wanted to be a rapper. Her father originally wanted to be a musician when he was a child and his father was the one that convinced him otherwise because he would essentially be shaming his family. Females tend to be portrayed as aides to the family instead of artists in any way so when Fatima’s mother stated that she was supported by her parents because the decision she made was all by herself, I was blown away at the leniency they showed. To Fatima, music and hip hop are a way of expressing a sort of individualization. In her position, she is at a weak point because mostly men are the ones who are empowered and any women assuming authority or individuality are thought of to be a disgrace. I think it’s great how even through all of her social and religious trepidations, she decides that she still wishes to be a rapper.

Another artist that I was impressed with was DJ Key. Although he wasn’t a rapper technically, his skills and musical dedication far surpassed anything I could have imagined. To think of how very few Moroccan DJs there are and to imagine how he got his talent and passion without any guidance or teaching was astounding to say the least. It was really emotional how at one point in the movie, he had walked past a large corporate building and stated that his dream was to work on the fourth floor of it. His dream however could not be achieved if he were to continue DJ-ing and doing what he was passionate about and loved. Early on in the film, he constantly expressed how it was difficult to lead a normal, respectable life with having interest in music yet he still held through with it. It was also very interesting to see that he was the DJ at every date of the I Love Hip Hop in Morocco fest. I felt like that must have been a very monumental moment in his career and life.

A lot of the hip hop represented and shown in the documentary is very interesting to me. The standard form of hip hop in Morocco is a combination of American hip hop and traditional Moroccan music. The sounds and effects in each song were very new and different than I am used to hearing in rap and hip hop. I think the main reason this became the standard form of hip hop was to preserve the formalities that established the music of the country and culture in the first place while still adding the peculiar frame of American hip hop as many are used to. Many artists still choose to rap about the negative things in their lives because the music is what allows them to do so. One rapper claimed that the freedom of speech that we have is not a problem where they are, but rather the lack of money is the largest trepidation. Even as the festival is being arranged five days before the first date, money is extremely tight and the organizers are desperately trying to round up any sort of equipment possible to make sure everyone can perform. This becomes a huge topic in many lyrics that rappers write along with some rebellious conformity issues pertaining to the government and religion of the country and culture. Another interesting thing I noticed was that many lyricists did not put many cuss words in their songs, on the contrary from many popular American songs. It was not so much that they could not insert them into their songs, but rather these were the lifestyles that many were raised with and for centuries this was something that was not referenced to and thus the lack of swear words.

If the American Embassy were to extensively promote an event such as the I Love Hip Hop in Morocco festival, I think much of the United States would view them as wasting their money on trivial expenses. As discovered in Reel Bad Arabs, many Americans assume that any Arab or Arab country is one of danger and threat so if one were to hear that money was being spent on a music festival, then the general populace of the payer would probably be appalled. At one point during the first festival date, the crowd had started to riot for the group H-Kayne; they refused to settle down and allow the opening acts perform and thus the main group had to perform early to get the audience to calm down. If this happened at every festival date and location, the reaction from the Americans and the American Embassy would be even more negative than if they were to simply discover that this was being endorsed. However, the crowd at every venue was easily entertained and seemed to love every second of the concerts. If this happened consistently, then the connections between the Arab and Islamic worlds and the American cultures could be strengthened and vastly improved.

Arabs According to Media

In the documentary Reel Bad Arabs, Dr. Jack Shaheen demonstrates just how the Muslim culture is negatively portrayed in Hollywood movies. Of the entire showing, three things truly stood out to me that I would have never thought about before. Although I have never seen the movie Rules of Engagement, I knew it was a military movie. I also had no idea that the former Secretary of the Navy was the main screenwriter for the film. In it, Samuel L. Jackson leads an elite Marine squadron into an embassy grounds to escort the United States Ambassador into Yemen. When told to open fire, Samuel L. Jackson’s squad ends up gunning down and killing at least 83 Yemen civilians who are protesting and what seems to be rioting. He is initially viewed as radical for killing so many people but at the end of the movie, or at least later in the film it is discovered that in fact the Yemenites had been the ones who had opened fire first and after being gunned down, the Marines’ efforts were applauded, supported, and even praised. It really surprised me how the movie called for the natives of Yemen to be the attackers and be viewed as the enemies instead of the Americans who were initially thought to have been the ones who fired first. This difference of respect and admiration for each group from both sides was rather eye-opening to see how the Arabs were portrayed as the negative ones.

Another part of the documentary that surprised me was the information about the Oklahoma City bombing. Although I was alive, I was only a year old and thus have no recollection of the event taking place; however I did hear about it and knew that a white, United States citizen was the perpetrator. What surprised me most about this is that according to the news at the time, Middle Easterners were to blame. Investigators of the scene even hired ten Arabic speakers to try and get as much information as they could. I was so shocked because after discovering who the true criminal was, the media and America was truly convinced that it was Arabs who were solely responsible.

Lastly, when the newsreels and television clips came up depicting Islam as a horrible religion, I could believe what I was hearing. As preachers of different religions were preaching, they sounded so ridiculous in the mannerisms they exhibited as they were judging an entirely other religion based off of the foundation of opinion. I’ve always found the idea of argument and debate to be so unreliable and biased. The entire basis of any argument is structured around differing opinions and cannot be surpassed by another opinion due to the personal connection one might hold to it.

I think one reason the American film industry might be so arrogant towards Arabs has to do with how they have been viewed since we were first at war with them during the Arab-Israeli conflict in the late twentieth century. During this conflict we had originally sided with the Israelis and thus viewed the Arab as the enemies. The idea of perspective is something that would come into play in this scenario, as with just about any war. We fought the Arabs and thus viewed them as the savages and scoundrels that are depicted in media and films. During this time, the Arabs may have viewed America as the enemy and could have made films depicting us or Israelis as the primitive and sickening human beings. Not only did films depict them in a negative, Palestinians were mostly completely dehumanized in films due to being enemies during wartime. This poor representation of who Arabs are and what their culture is is what has brought us to the stereotypical society we are now. We now view mostly any Arab as being threatening or risky to be around because we have always seen them as going against the Americans. This leads us to draw incorrect and extreme conclusions about whole cultures. Such is the primary factor in the September 11 attacks on the World Trade Centers in New York City. Although tragic, the actions of nineteen men should not be how we judge and entire race of about 1.3 million.

During the documentary and the movie clips presented, I recognized four films: Raiders of the Lost Ark, Back to the Future, Aladdin, and Ernest in the Army. Most of these films are or were intended for a full family audience due to harmless and even comedic storylines. However, after viewing them in light of Reel Bad Arabs, I can now say that I am thoroughly surprised that Arabs were used as the bad guys, so to speak, or portrayed negatively. Aladdin probably surprised me the most in that it was a film made by a generically family-friendly company and yet portrayed Arabs as dirty and frightening. I think this mindset could be what taught some children to grow up and mature with the negative values and morals they learned as a child.

I think this documentary showed and exemplified how as a culture we can easily be influenced by the media – news and film in particular. As discussed, an entire culture, society, and system of beliefs is still judged based on what we have seen displayed on our televisions. In addition, we can be very sensitive and easy to persuade as a whole community. People implore one opinion or view of Arabs and next thing, it becomes the common thought. Similar to the Dixie Chicks’ situation, dissent would be viewed as siding with the terrorists, who just so happened to be Arab. The same idea can be applied to the general opinion of even a person: if a selection of people thought the Oklahoma City bomber was quiet and reserved, then that is probably what the common opinion would be.

Bloomington Farmers' Market

When I was told that I would be attending the Bloomington Farmers’ Market, I had no idea what to expect. I had never been to any such thing but had heard how seriously communities take them and this was no exception. Even as we were heading in the general direction and getting closer to the market area, I could sense this feeling of connectivity – as strange as it sounds I could feel this united energy from the people in the area and even in the streets and the village center itself. To think that this must be a common feeling experienced every Saturday morning and afternoon in Bloomington is just astounding and phenomenal. Families, couples, children, political promoters, musicians, farmers, and regular townspeople all become a sort of intertwined communal collective at least one day every week; that’s so incredible.

Most of the people there were either entire families or adults together; almost no one was alone. Initially, where we first met as a class was a large tent near city hall and a small adoption station for young rescued puppies. The large tent included tomato-tasting, refreshments and other various commodities for anyone that was interested. The adoption station was visited by families but most of the children were the ones playing with the animals while the adults were the overseers. As I exited this area, I ventured into the primary market grounds with stands and people alike. The first thing I noticed was a tent that was playing a local radio station that consisted of mostly country and bluegrass music. Next to it was a stand selling mostly homegrown fruits and vegetables and next to that was someone selling bee products i.e. honey, wax, etc. Next to that was a row of vendors selling mostly fruits and vegetables with the addition of tons of flowers and flower products. The majority of these two areas were encompassed with a lot of families and adults seeming to buy gifts for loved ones and little ones.

Most of the aisles of the mart were lined with assorted fruit and vegetable stands and sprinkled with the occasional oddity. Some had meats, some had natural products such as plants, some had corn, and so on – most of which were visited by adults and elders as opposed to full families and young ones. In all of this, there was only one stand that was utilizing music and that was a meat and bratwurst vendor. There seemed to be plenty of assorted meat products all accompanied by the twangy sounds of a country radio station. Every time I passed by, this man seemed to have more and more customers. I think the familiarity of the country music may have been what attracted so many people to his stand. They may have felt a similar welcoming and uniting vibe that I had felt heading towards the market. Also, with the passing by of mostly an adult audience, I would imagine that sales were increased due to a subconscious and biological explanation of children’s inability to chew food as well as their elders. However, this vendor was one of only two stands dedicated to the selling of what was primarily meat and neither was very low on customers so to say that music and biology were the only variables in which influenced the visitation of people would be a bit of an extreme assumption.

Along a small pathway along a curve (near the top of the map, heading left) were various tables and stands set up for political advisors and promoters. What I found most interesting about this area was the lack of visitors. In the food zones, you could barely see anything two tents down due to the large crowds of people. In this street however, literally every political table could be seen with just a glance. This entire area seemed to be avoided. It almost seemed as though the people at each station were not happy with being there for the reason they were and instead wished to enjoy the festivities with everyone else. One way I think this could be explained is that politics are typically about beating a governmental opponent for a specific position and thus cause separation and discourse. In relation to the unification of this event, most people may have wished to avoid these areas to prevent any sort of debates or arguments and instead enjoy the mutual connections felt with others at the market. I did feel a little bit of sympathy for this section though. Beyond all the politics, there was an Indiana University student attempting to sell tickets for various events here at IU and was basically avoided throughout the day. In addition, there was a trio comprised of a saxophone, drum set, and double bass that was performing improvisational jazz and jam band music. In my opinion, they were my favorite musical group performing at the market and had very few if at all patrons that stopped and listened.

The next and final area of the market (pictured in the bottom half of the map) was what I assumed to be intended for a younger audience. Along the central statue (conveniently of 2 enormous chairs at a giant table) were primarily the sweets and treats stands. These contained snacks and foods such as heated drinks, cold smoothies, bakery goods, and some candy if my memory serves me correctly. As stated, there were plenty of small children in this area because any child would want some nice sugary sweets to keep them going in large crowds of people on a hot day. A little further down were the main attractions for any toddler, infant, or young one: balloon animals and children’s songs. There was an older man with a ukulele and a Hawaiian t-shirt performing familiar tunes that almost any kid would know and for added appearance value was accompanied by a dancing parrot and a gentleman that could make any sort of balloon figure upon request. One could see the pure joy emitting from each child’s face as he contorted and entertained.

The one aspect that I found most interesting among this whole farmers’ market was the presence and attraction of various musicians among the grounds. There were 4 major acts throughout, two of which I have already mentioned. As stated, the ukulele and children’s tunes performer was in what I would deem the children’s section and the jazzy jam band was near the political realm. Both were near an entrance/exit area and I assume this was to welcome patrons as they approached to let them know that the market was a very friendly and clean place to be. Inside the market, there was a banjo/fiddle player near the sweets circle to add a sort of upbeat feel to a bright area and a resophonic guitar and double bass duo near the main fruits and vegetables area that sang mostly about woe and love at a young yet mature age. I’m almost certain the latter was meant to appeal toward the older group as many people stopped to listen and videotape.

Overall, I could easily compare the entire market toward the idea and style of participatory music because everyone, whether aware or not, is a willing participant of the farmers’ market. As stated, there was this feeling of unification among the patrons that was no different than that of what a participatory music scene would feel like. Each person is welcomed and assumed to be an equal in both participatory music and the farmers’ market.

Shut Up and Sing! Review Essay: Political Music

When Natalie Maines, lead singer of the Dixie Chicks uttered that she was, “…ashamed that the President of the United States is from Texas,” at a concert in England, she sparked a national outrage through the U.S. This claim was in reference to the recent terrorist attacks on 9/11 and the invasion of Iraq at the commencement of the War in Iraq, of which the country group did not agree with. Although they received a huge ovation at the show, back home there was a national outcry of appall and hatred towards the performers and anything having to do with them. Diehard fans threw away merchandise, country radio stations refused to play any of their music and if they did, would lose fans themselves, even non-country fans decided to take part in the argument all because someone had a different opinion than the mass majority. In defense of the situation, the remark was made only two years after the events of 9/11 and the country might have still been very sensitive about any sort of negative comment or dissent that went against the beliefs of the victims at hand.
            This whole situation exemplifies just how connected the ideas of music and politics can be. Just because they had a different voicing, the Dixie Chicks were thought of the modern day Communists, of which are becoming terrorists; in other words, Natalie Maines, Emily Robinson, and Martie Maguire went from being America’s own sweethearts to America’s very own enemies. Fans and listeners, although wanting nothing to do with their music, wanted to pay attention to and watch and comment on every move they make – political or not. One such example is when Toby Keith had associated Natalie Maines with Osama bin Laden as if they had been working together and Natalie voiced that she was disapproving of any such coalition and disliked Toby Keith himself. She proceeded to sport a shirt with the initials F.U.T.K. at a following concert of which everyone took notice. The initials obviously represented a disdain for the opposing country singer and thus groups of people made their own shirts but with the letters F.U.D.C. instead.
            Needless to say, when it comes to the war on terror or touchy subjects of the like, Americans tend to be fueled by a sense of overwhelming patriotism as opposed to open-minded thinking. With this, they also assume that any other American would act the same way. This is why the comment about former-president Bush was such an outrage. Music has always been a sort of connecting force for people and politics – it helps drive home ideas and thoughts that the government plans on dealing or in some cases not dealing with. One such case of the latter is when rapper Kanye West made a comment in 2005 during a Hurricane Katrina relief fund that George Bush did not care about black people. The time frame is just about the same as the Dixie Chicks, only 2 years apart but still a sensitive time for Americans. The response however was much different. The Dixie Chicks made their comment during a concert in England and notice was taken three to four days after the event. Kanye West made a negative comment about the president on national television during a fund to help victims of another travesty. The main difference is that Kanye was known to make outrageous remarks similar to the one he made so no one really thought it was anything too wild. Another primary difference is that of race and gender, him being a black male. Many thought he was just speaking for others because he was a minority figure and chose to speak out because he was a man. No one thought of it as being anything out of the ordinary. He was not viewed as being non-patriotic or anything of the sort.

Country music was typically used as the foundation for modern patriotic music following the events of 9/11 and the invasion of Iraq due to very radical views of retaliation and response so as soon as one country group decided to step outside of that realm, chaos ensued. In the most recent election, country music was mostly used by the candidates to show how they were “real Americans,” and if country music was not used, numerous artists from varying genres of music were brought together to perform certain songs of differing styles to signify that unification of people from different realms, but whichever side you choose to accent, the truth still stand that contemporary American politics has a very tight connection with music. Music has always been able to establish an emotional connection with most listeners and has the power and ability to elaborate upon certain opinions, beliefs, and viewpoints of presidential candidates. It is an art form that is also a form of expression and in some cases explanation. When the Dixie Chicks spoke out against the common opinion, they were hated upon and lost millions of fans because they did not want to be viewed as explaining and elaborating the views of the country during that time. During a time of fighting a war on terror, these women were thought to be part of the effort to increase the powers of the terrorists. It is obvious they had no such degree of power as the common enemy; however they still were a part of it primarily because they had remarked that their view was much different than the majority of United States citizens.

Different Fields of Music Making

• Participatory

When we first learned what exactly participatory music was, I realized that this was a type of music I had always wanted to engage in. I think the idea behind this field is truly remarkable. I have always had an enormous interest in improvisation and percussion with large groups. As soon as I saw this video I thought it was an incredible example of what modern participatory music could sound like. There's really no specific melody or lead line at all in this gathering and at no point is there any expectation or suspension of any such idea even.


One of the easily recognizable potentials of this style of music is the idea that everyone is a part of the music-making, no matter how large or small the role they play is. It also allows for absolute musical expression of one's self despite possibly having no musical exposure whatsoever. One can tell from the video that some of the children seem to be uncomfortable with playing at all and thus begin playing a very minuscule part and as soon as they see how much fun everyone else is having, they immediately just play their heart out. I think that's incredible and a good show of the values this music style exhibits which is obviously that of entire group participation. The music is truly flowing through everyone. One of the limitations however is that if this were to go on for an extended period of time, it would begin to sound very repetitive and as if every beat possible had been played. For many Western listeners, this would be something that might not appeal as much as something that had a set track time.

• Presentational

I'm sure just about any video of a live performance could have been chosen for this category but I picked this one for a reason. Although it is 27 minutes long, keep in mind that interest is kept throughout due to melodic and ideological changes during all that time. That is one of the limitations of presentational music: the musicians are solely responsible for keeping the audience entertained and enthused throughout the performance. In that last sentence is another significant difference presentational music exhibits when compared to participatory - there is a notable separation between the music-makers and music-observers or -listeners. The primary idea behind such music is for one group of people (audience) to view and listen to other specialists of the art (the band). As specialists, the musicians also exemplify one of the primary potentials of the art in that they are very rehearsed and exhibit what many people would consider a polished and "good" performance.

• High Fidelity

As with Presentational music, I'm certain almost any studio recorded song could have worked as an example and so I picked a song that's both short and I've seen performed live. One of the expectations and values of high fidelity music is that it is meant to sound as thought the musician or musicians can or would perform the same track live. I think this is a great example because there are only 4 parts (2 guitars, 1 bass, and percussion) and is the exact same setup live as well; there are no additional parts or overdubs necessary. One of the limitations of any such track is that most of the time during recording, the band or group of musicians have never performed the song or recorded in the same room at the same time as a full group. Although they know their individual parts and know how to make the song come together as a whole the idea of group music-making is nonexistent. However, one great potential is that the ideas the group has acts as the leaders in this style - they can control what they want and how they'd like it to sound.

• Studio Audio Art

Studio Audio Art is a music style that has been increasingly growing as of recently. Originally started as exchanges between academic composers with no intent of being performed live, this style gives the writer full power and control over how the track sounds. Although the play button could be pressed at a concert, the music and sounds you hear in this recording are not actually what are being performed; they are just being replayed. This is both an expectation and a limitation. The empowerment to the musician is what gives this style such a great potential in that every recorded sound or beat can be exactly what the composer wants for other to hear.