From an array of prominent activists including Nelson Mandela and Steve Biko to renowned performers and oral poets such as Johnny Dyani and Samuel Mqhayi, the Eastern Cape region plays a unique role in the history of South African protest politics and creativity. The Spirit of Resistance in Music and Spoken Word of South Africa's Eastern Cape concentrates on the Eastern Cape's contribution to the larger narrative of the connection between creativity, mass movements, and the forging of a modern African identity and focuses largely on the amaXhosa population. Lindsay Michie explores Eastern Cape performance artists, activists, organizations, and movements that used inventive and historical means to raise awareness of their plight and brought pressure to bear on the authorities and systems that caused it, all the while exhibiting the depth, originality, and inspiration of their culture.

AN INSTANT NEW YORK TIMES BESTSELLER A timely and passionate call to action for engaging with our current political moment, from the Grammy-nominated and multiplatinum singer-songwriter and New York Times bestselling author Tori Amos. Since the release of her first, career-defining solo album Little Earthquakes, Tori Amos has been one of the music industry’s most enduring and ingenious artists. From her unnerving depiction of sexual assault in “Me and a Gun” to her post-September 11 album, Scarlet’s Walk, to her latest album, Native Invader, her work has never shied away from intermingling the personal with the political. Amos began playing piano as a teenager for the politically powerful at hotel bars in Washington, DC, during the formative years of the post-Goldwater and then Koch-led Libertarian and Reaganite movements. The story continues to her time as a hungry artist in Los Angeles to the subsequent three decades of her formidable music career. Amos explains how she managed to create meaningful, politically resonant work against patriarchal power structures—and how her proud declarations of feminism and her fight for the marginalized always proved to be her guiding light. She teaches us to engage with intention in this tumultuous global climate and speaks directly to supporters of #MeToo and #TimesUp, as well as young people fighting for their rights and visibility in the world. Filled with compassionate guidance and actionable advice—and using some of the most powerful, political songs in Amos’s canon—this book is for anyone determined to steer the world back in the right direction.

A volume in Critical Constructions: Studies on Education and Society Series Editor: Curry Stephenson Malott, West Chester University of Pennsylvania Arising from the street corners and underground clubs, Rebel Music: Resistance through Hip Hop and Punk, challenges standardized schooling and argues for equity, peace, and justice. Rebel Music is an important, one-of-a-kind book that takes readers through fun, radical, educational chapters examining Hip Hop and Punk songs, with each section addressing a particular social issue. Rebel Music values the experiences found in both movements as cultural capital that is de-valued in the current oppressive, standard, test-driven, rule-bound, and corporate schooling experience, making youth "just another brick in the wall." This collection is a "rebel yell" to administrators, teachers, parents, police, politicians, and counselors who demonize Hip Hop and Punk to listen up and respect youth culture. Finally, Rebel Music is a celebration of radical voices and an organizing tool for those who use music to challenge oppression.

The signing of the Good Friday Agreement on April 10, 1998, marked the beginning of a new era of peace and stability in Northern Ireland. As the public overwhelmingly rejected a return to the violence of the Troubles, loyalist and republican groups sought other outlets to continue their struggle. Music, which has long been used to celebrate cultural identity in the North of Ireland, became a key means of facilitating the continuation of pre-Agreement identity narratives in a “post-conflict” era. Sounding Dissent draws on three years of sustained fieldwork within Belfast's rebel music scene, in-depth interviews with republican musicians, contemporary audiences, and former paramilitaries, as well as diverse historical and archival material, including songbooks, prison records, and newspaper articles, to understand the history of political violence in Ireland.The book examines the potential of rebel songs to memorialize a pantheon of republican martyrs, and demonstrates how musical performance and political song not only articulate experiences and memories of oppression and violence, but also play a central role in the reproduction of conflict and exclusion in times of peace.

In My Voice Is My Weapon, David A. McDonald rethinks the conventional history of the Palestinian crisis through an ethnographic analysis of music and musicians, protest songs, and popular culture. Charting a historical narrative that stretches from the late-Ottoman period through the end of the second Palestinian intifada, McDonald examines the shifting politics of music in its capacity to both reflect and shape fundamental aspects of national identity. Drawing case studies from Palestinian communities in Israel, in exile, and under occupation, McDonald grapples with the theoretical and methodological challenges of tracing "resistance" in the popular imagination, attempting to reveal the nuanced ways in which Palestinians have confronted and opposed the traumas of foreign occupation. The first of its kind, this book offers an in-depth ethnomusicological analysis of the Israeli-Palestinian conflict, contributing a performative perspective to the larger scholarly conversation about one of the world's most contested humanitarian issues.

Part 1: Theorizing music and social change: The sound of resistance - Utopian blues - Matriarchal music making - Beyond music - Polynoise - Knoise pearls - Plunderphonics - Creatigality - Fair use - Soul sonic forces: technology, orality, and black cultural practice in rap music - Alternative to what? - World beat and the cultural imperialism debate - Jazz, kreolization and revolutionary music for the 21st century; Part II: In the belly of the beast: The screamers - Music guerrilla: an interview with Fred Wei-han Ho - Boyz from the Rez: an interview with Bobby Bee - Who bombed Judi Bari? - Timber!: an interview with Judi Bari - Shake, shake, whore of Babylon - Maximising rock and roll: an interview with Tim Yohannon - The Black Wedge tours: take something you care about and make it your life - The imaginal rave - Long live the humble audio cassette - Plagiarism: an interview with the Tape-beatles - Recontextualizing the production of 'new music'; Part III: Shattering the silence of the new world order: Us & dem - World music at the crossroads - The rattling of the drums: political expression in world music - Dub diaspora: off the page and into the streets - Nanny - Rapso rebellion: an interview with Brother Resistance - Thomas Mapfumo: the lion of Zimbabwe - Latin music in the new world order: salsa & beyond - The singer as priestess: interviews with Celina Gonzalez and Merceditas Valdes - Craft, raft and lifesaver: Aboriginal women musicians in the contemporary music industry - Palaam Uncle Sam: an interview with Musika and Musicians for Peace, Philippines - Playing other people' music: an interview with Royal Hartigan - Singing other peoples' songs.

"First published in 2000 by Pluto Press, London, England"--T.p. verso.