Songs of Social Protest is a comprehensive, cutting-edge companion guide to music and social protest globally. Bringing together established and emerging scholars from a range of fields, it explores a wide range of examples of, and contexts for, songs and their performance that have been deployed as part of local, regional and global social protest movements.

• Cover
• Songs of Social Protest
• Series page
• Songs of Social Protest: International Perspectives
• Copyright page
• Contents
• Foreword
• Introduction
• Protest and the African American Experience
  • Chapter 1
  • Social Protest and Resistance in African American Song
    • The Oral Tradition
    • Language
    • Georgia Sea Island Singers
    • From Jim Crow to the Civil Rights Movement
    • Conclusions
    • Notes
  • Chapter 2
  • “You’ll Never Hear Kumbaya the Same Way Again”
    • Didn’t My Lord Deliver Daniel?
    • Come By Hyar
    • Which Side Are You On?
    • Singing Their Freedom
    • The Kumbaya Law
    • Black Liberation Then and Now
    • Taking Back “the real Kumbaya”
    • Notes
  • Chapter 3
  • Billie Holiday’s Popular Front Songs of Protest
    • “Strange Fruit,” Café Society and the Left
    • “High Art” From Below
    • “Strange Fruit” for Billie Holiday
    • God Bless the Child
    • Race, Class, and the Musician as Organic Intellectual
    • Conclusion
    • Notes
• Protest Genealogies
  • Chapter 4
  • Songs of Social Protest, Then and Now
    • Sociology and Music
    • Songs and Protest
    • Charismatic Leaders and the Transformation of Folk Songs
    • Social Movements
    • Popular Music as Protest Music
    • Conclusion
    • Note
  • Chapter 5
  • Pete Seeger and the Politics of Participation
    • The Road to a Constructionist Approach
    • Rethinking “Political Music”
    • Audience Participation as Democratic Practice
    • Theorizing Audience Participation
    • Adorno Redux
    • Notes
  • Chapter 6
  • The Radicalisation of Phil Ochs, the Radicalisation of the Sixties
    • The Birth of a Radical
    • Reform, Resistance, Revolution
    • Radical Reform and Civil Rights
    • Student Power and Resistance
    • Goodbye to All That Liberalism
    • The Ringing of Revolution
    • Conclusion
  • Chapter 7
  • Ewan MacColl’s Radio Ballads as Songs of Social Protest
    • Ewan MacColl: from dramatist to songwriter
    • The Radio Ballad concept
    • John Axon and the poetry of everyday speech
    • Work and identity
    • Tape editing and heteroglossia
    • Against pop culture: On the Edge (1963)
    • Conclusion
    • Notes
  • Chapter 8
  • ‘Message Songs are a Drag’
    • Notes
• Transforming Traditions
  • Chapter 9
  • Expressions of Māʻohi-ness in Contemporary Tahitian Popular Music
    • Expressions of Political and Social Protest in Tahiti
    • The Māʻohi Cultural Identity
    • The Tahitian Musical Landscape
    • Henri Hiro and his Intellectual Descendants
    • Orality
    • ʻAparima, Literature and Traditional Arts
    • Bobby Holcomb
    • Aldo Raveino
    • The Emergence of a new Generation of Musicians
    • Notes
  • Chapter 10
  • Casteism and Cultural Capital
    • Religious Songs as Social Songs
    • Songs of Mysticism
    • Songs of Devotion
    • Devotion as Obedience
    • Spiritual Autonomy
    • Moral Transformation as Societal Transformation
    • Dietary Abstinence and “Sanskritization”
    • Purity as Resistance
    • The Reformation of a Criminal Caste
    • Rediscovering “Roots”
    • Conclusion
    • Notes
  • Chapter 11
  • Singing Against the Empire
    • Licentiousness, Power and Possibility: Understanding the Anti-structure of Song
    • Máire Bhuí Ní Laeire (Yellow Mary O’Leary) and Singing Anti-colonial Discourse in Nineteenth-century Ireland
    • Moments in Time (Out of Time): Oral Performance, the Narrative of the Past and Contemporary Political Mobilisation Through Song
    • Conclusion: Performance, Regeneration and Traditions of Thought in Orality
    • Notes
• Freedom and Autonomy
  • Chapter 12
  • “Organic Intellectuals”
    • The Emancipatory Role of Protest Songs: Theoretical Insights
    • The Portuguese Dictatorship: Establishing Hegemony
    • The Emergence of Protest Songs in Portugal
    • Resisting Salazarism Through Music: Deconstructing Hegemonic Narratives
    • Impact of Protest Songs
    • Conclusion
    • Notes
  • Chapter 13
  • Singing Protest in Post-war Italy
    • The Birth of the Canzone d’Autore
    • Dominance of Lyrics over Music in the Canzone d’Autore
    • Cantautori as Public Intellectuals
    • Lyrics and Social Impact
    • Fabrizio De André
    • The Social Impact of De André’s Work Constructed through his Lyrics
    • Storia di un Impiegato (Story of a White-Collar Worker)
    • Le Nuvole—A side
    • Dialects as a Means of Resistance: Indiano and Crêuza de Mä
    • Le Nuvole—B side
    • Conclusion
    • Notes
  • Chapter 14
  • The Trajectory of Protest Song from Dictatorship to Democracy and the Independence Movement in Catalonia
    • Catalan New Song, the Beginnings
    • “L’Estaca” 1968. The Musical and Lyrical Appeal of the Song
    • After “L’Estaca”: Repression of Catalan New Song
    • The Transitional Period and Democracy in Spain
    • Rejection of Catalan New Song: Is There a Place for Protest Song in a Democratic Society?
    • The Independence Movement in Catalonia
    • Contemporary Catalan Musical Production
    • Notes
  • Chapter 15
  • Making the Everyday Political
    • State Formation: A Historical and Socio-Political Contextualisation
    • Sampling Methods and Analysis Procedures
    • Song-Performances in the Protest Movement for Telangana State Formation: Gaddar
    • Venkanna and the Performance of Boundaries
    • Padmavathi and Student Protests
    • Conclusion
    • Notes
• Politics, Participation and Activism in the Field
  • Chapter 16
  • “Freedom is a Constant Struggle”
    • “Where have all the protest songs gone?”: (In)Audibility In Social Movement Theory
    • Musical Performance and APF’s Emergence
    • The Liberation Song in South Africa
    • Adapting Freedom Songs Post-Apartheid
    • “It will go down as far as your own strength”: Singing APF’s Declining Years
    • Music In the Wake of Mobilisation
    • Notes
  • Chapter 17
  • Cultural Production as a Political Act
    • The Production of Art as a Political Act
    • Bandista, A Music Collective
    • Street, Square, Night: Collectiveness in Production
    • Composing: Transferring, translating, taking from collective memory
    • Writing the lyrics: Completing each other’s sentences
    • Playing, singing, recording
    • Sharing the songs, expanding the collective
    • Conclusion
    • Notes
  • Chapter 18
  • Hip-Hop as Civil Society
    • Ugandan Hip Hop and the Informal Civil
    • Hip Hop Identity and Community: Spaces of Activism
    • Escapism and Excess: The Site of the Oppositional
    • Conclusion
    • Notes
• Semiotics, Mediation and Manipulation
  • Chapter 19
  • BOOM! Goes the Global Protest Movement
    • System of A Down
    • Violence
    • Persona
    • Detachment
    • Analysis of the song
    • Analysis of the video
    • Director Michael Moore
    • Industry
    • Conclusion
    • Notes
  • Chapter 20
  • Pussy Riot
    • Pussy Riot and the Avant-Garde
    • Pussy Riot and Riot Grrrl
    • Performing “Punkness”
    • Response from the West
    • Pussy Riot in Russia
    • Performance in the Media
    • From Black Lives Matter to Global Appropriation
    • Conclusion
    • Notes
  • Chapter 21
  • Camp Fascism
    • Camp Fascism as Protest
    • Identifying Industrial Music
    • Protesting Neoliberal Control: Throbbing Gristle, Laibach and Marilyn Manson
    • Conclusion
    • Notes
  • Chapter 22
  • Protest Songs, Social Media and the Exploitation of Syrian Children
    • The Syrian Conflict
    • Children and War
    • Music and War
    • Syria’s Songs of War
    • Methods
    • Syrian Children’s War Songs
    • Unshūdat Aṭfāl al-Shām أنشودة اطفال الشّام
    • Abkī ‘ala Shām il-Hawa أبكي على شام الهوى
    • Nasmat al-Thawra نسمة الثورة
    • Firqat Barā‘im al-Thawra30 فرقة براعم الثورة
    • The Child Abbas الطفل عباس
    • Conclusion
    • Notes
• Protesting Bodies and Embodiment
  • Chapter 23
  • “Bread and Roses”
    • Bread and Roses and The Lawrence Textile Strike
    • A Socio-Musical Lens: Adorno on Protest Music
    • Dialectical Musical Meaning
    • Considering ‘Bread and Roses’ through a Musicological Prism
    • Collective Singing
    • Conclusion
    • Notes
  • Chapter 24
  • “We Shall Overcome”
    • A Brief History
    • Pete Seeger and “We Shall Overcome”
    • Overall Importance of the “Freedom Songs”
    • Rhythm, Freedom Songs and Entrainment
    • Song, Singing and Communal Identity
    • Song, Community and Communal Performance
    • Conclusion
    • Notes
• Borderlands and Contested Spaces
  • Chapter 25
  • The Language We Use
    • “I face my race”: Representing Morrissey as Protest Singer in the Borderlands
    • Ozomatli’s Gay Vatos in Love as Celebratory Protest: What’s Morrissey Got to Do With It?
    • ‘He sings about me, and I like his style:’ Morrissey and Trans-Butch Protest in Whittier Boulevard
    • Conclusion
    • Notes
  • Chapter 26
  • Rising from the Ashes of “The Grove”
    • Methodology
    • Contextualizing Chávez Ravine
    • Protest songs of Chávez Ravine
    • Conclusion
    • Notes
  • Chapter 27
  • Mariem Hassan, Nubenegna Records and the Western Saharawi Struggle
    • Contextualisation of Hassan’s music in the Western Saharawi refugee camps in Algeria
    • Nubenegra and Hassan: A story of political support through Western Saharawi protest songs
    • The study of cross-cultural music and protest songs
    • Mediation as a way of analysing the interaction between musicians for the preparation of musical performances
    • Collective communication as a form of mediation: Musical construction in Hassan’s performance of El Aaiun Egdat
    • Main musical arrangements produced by each musician for live performances and which differed from their contribution in the album El Aaiun Egdat
    • Another form of collective communication: Interactive live performances as a trio at Festival du Sahel (Senegal)
    • Representing Hassan’s music and her political cause: Stage talk to present songs during musical performances
    • Conclusion
    • Notes
• Critiquing Capitalism and the Neoliberal Tide
  • Chapter 28
  • Against the Grain
    • Ireland a Middle-Class Nation?
    • Boom & Bust in Ireland—Hegemonic Discourses
    • Counter Hegemonic Discourses
    • Damien Dempsey—A Class Warrior?
    • Re-imagining “Celtic Tiger” Ireland
    • Old Materials, New Contexts, Irish Cosmopolitanism
    • ‘Community’—Challenging the Hegemony of ‘Economy’
    • Conclusion
    • Notes
  • Chapter 29
  • Bail Out—From Now to Never— A Rhetorical Analysis of Two Songs About Economic Crisis
    • Reggae as Protest Music
    • Artists and Background
    • Walter Rodney and International Debt Relief and Economic Crisis in Jamaica
    • International Debt Relief and Economic Crisis in Greece
    • Big Youth Bail Out
    • Now To Never by One Drop Forward
    • Conclusion
    • Notes
  • Chapter 30
  • The Cacophony of Critique
    • New Model Army: A Tradition of Protest
    • Protest and Critique
    • NMA’s Lyrics
    • Conclusion
    • Notes
• Ideology and the Performer
  • Chapter 31
  • “Aesthetics of Resistance”1
    • Social Protest
    • Song as a Mechanism of Protest
    • Billy Bragg
    • Ideology
    • Meritocracy: A Fair and Equitable Society?
    • Ideology: A Reading
    • Conclusions
    • Notes
  • Chapter 32
  • Straight to Hell
    • “Something about England”
    • Broadway
    • Lost in the Supermarket
    • Up in Heaven (Not Only Here)
    • Conclusion
    • Notes
  • Chapter 33
  • The Truth Must be Told So I’ll Tell It
    • Paddy’s Lamentation
    • Ewan MacColl and the British Folk Revival
    • Woody Guthrie and the US Protest Tradition
    • Conclusion: the Transmission of Tradition as Radical Praxis
    • Notes
  • Discography/ Filmography
  • Bibliography
  • Index
  • Contributors