Michael Hodge: My Musical Progression

         What does it mean to be a musician? Most people would classify a musician as someone who devotes their time to music and earns a living as such. Individuals who enjoy music making are reluctant to label themselves as “musicians” because of this stereotype. However, there are a select few, who would proudly say, “I’m a musician” even if it’s not their sole devotion. I’m lucky enough to know such an individual. His name is Michael Hodge, and he was born and raised in Dallas, TX.

          For Michael, music has always been an integral part of his life so it only seems natural that he would have an affinity towards it. His musical influence began with his parents. He even recalled as a child how music was one of the mediums his mother would use to rouse him and his siblings from bed saying, “Every Saturday my Mom would wake us kids up by pulling open the blinds and turning on music at 8:00am. It is something I have memories of every weekend.” From sunrise to sundown, Michael was surrounded by the sounds of music growing up. His philosophy on music is best described according to himself—“music has always been a part of my life like sports…without music, I don’t know where I would be.”

            This philosophy became vital in 2001 when Michael, unfortunately, lost his mother to a battle with cancer. Making music became the only way for Michael to remain levelheaded. He is generally an individual who withholds his feelings, but music provided him the opportunity to vent his feelings. “Music was a way for…my thoughts to be vented to myself,” Michael said. He used music to not only voice his emotions about the passing of his mother but also to express his joys and happiness.

            Michael doesn’t just take his feelings and/or emotions and write them down on paper. He formulates his own beats and mixes in addition to the lyrics he comprises—“When I make a beat or lyric, I just write it. I turn my thoughts into words and sounds.” For him, music making is very much a “feeling” that he must have. Having had the privilege of listening to a number of Michael’s recordings, I can attest to the fact that his songs depict his emotions at the time of their creation. Michael is proud of the versatility he feels he can offer as a musician. Laughing and smiling, he said, “I think that’s why a lot of people have liked my music. I can give you sad, happy, depression, excitement, gangster stuff, etc.”

            Since 2005, Michael has been recording and letting people listen to his music. In the last eight years, his music has evolved substantially. In part, by the artists he drew his influences from as well as his life experiences. These artists included Prince, Tupac, Z-Ro, and Drake. And when he was asked what he draws on from these artists, he said, “From Prince, I took his swagger, Tupac his poetry—how he put all his feelings on paper, Z-Ro from Houston—everything he raps about is something I went through on a daily basis, and Drake’s ability to be flexible.” He also notes that in order for a musician to be successful, they need to be open to change. According to Michael, “It has to evolve…you have to switch it up.”

Additionally, Michael has a goal for his songs: to resonate with the individuals who listen to it. He describes his music as a combination between participatory and high fidelity. “I want you to participate in what I’m saying. I want you to be in a trance whenever you hear it.” For Michael, his music is much more than beats and sounds. He tries to reach his audience and have them listen to what the lyrics are by singing about his experiences that are relevant to their own experiences. “I have stuff that a lot of people can relate to—women and men,” Michael said.

            Despite his lifelong association with music, Michael never wanted to take music as a profession seriously. Like many other artists, he did try to make it major. He’s produced and recorded some of his own songs (see video below), but for him, the music industry was a cult. There were too many grey areas and “a lot of shady stuff,” according to Michael that deterred him from further pursuing his talents. Had he wanted to go professional, an earlier start (age 12) would have been more suitable. Even though Michael may still have some wishes now and then to make it big, he has his future to think about. He was recently engaged and will be getting married and starting a family soon. For Michael, that’s huge! “I will never put anything over my family,” Michael said.

            

               Music will continue to surround his life, but he will never take it seriously. For him, music has always been an outlet—a way for him to formulate his thoughts and feelings into words and a beat. Michael’s music represents who he is as a person. He never tried or wanted to be something he was not. “I wanted to show the realness in me,” Michael said. And if you listen to his music, you will understand the “realness” that is Michael Hodge of Dallas, TX.

Tibetan Exiles in Dharamsala

Of all the readings, we've read thus far in class. I have been most intrigued by the ones regarding the Tibetans in exile in Dharamsala, India. The Tibetans seem to have a rather different viewpoint on their culture and how it can evolve amid other cultures in the modern world. From our previous class readings, we've learned about music-making being either presentational, participatory, high fidelity or studio audio art. Additionally, we've learned about how different symbolisms, icons, and indices are found in music in order to relate and speak to the listeners experiences and background. All these relations to music have been utilized in various ways. Some of them in religious or celebratory festivals, political movements and/or everyday life.

The Tibetans from my personal point of view don't really seem to fit the molds of what we've discussed in regards to music. It seems as though they solely are fixated on the fact that they have been exiled and their country placed under Chinese control. The traditional dances and music making discussed in the book provided no insight into whether it was primarily presentational or participatory. From what I could gather, I would assume it is primarily presentational. The author only talked about traditional dances or music being performed primarily by the TIPA (Tibetan Institute of Performing Arts). There were some instances of participatory dance and music-making in the beginning chapters of the book with the revival of the chang ma at weddings and other festivals. Aside from this one discussion, I didn't feel that music making was highly involved in their lives.

They sought desperately to gain as much attention as possible to their cause to regain Tibet. They were able to do that through music to some extent, but most of the attention they received was a result of famous individuals outside of Tibet such as the Beastie Boys and Richard Gere learning of Tibetan culture and doing their own promotions of the cause. From the readings, if one was to talk to Tibetans in Dharamsala, you would hear mixed reviews on their own culture and the cultures surrounding them in Dharamsala. The disparity exists primarily between the youth and older generations of Tibetans in exile as well as newly exiled individuals from Tibet.

The youth feel stifled by older generations because according to them, allowing Western music or Hindi songs to accompany traditional Tibetan music is blasphemous. I feel, the youth see Western styles and Hindi music as a better means of relating and expressing their feelings of disparity than traditional music. It is hard for me to understand how literally the Tibetans have exiled themselves in Dharamsala. Despite even the Dalai Lama being receptive of broadening artistic expression, Tibetans cause an uproar whenever changes are proposed, and they quickly shoot the ideas down. It's almost as if they want to remain "isolated in the mountains" forever. As a result, Tibetans over the years have spread out from Dharamsala to other parts of India and other countries where they can more openly express their interest in other music types.

It's saddening to see those that have tried to incorporate rock 'n' roll and other music types into the Tibetan culture be met with such resistance. Audiences boo and ridicule those that try to make a name for themselves through music. According to most people, exuberant amounts of money should not be gained from the Tibetan cause. The Yak Band is a perfect example of the hardships that accompany being a non-Traditional musician in Tibet. The Yak Band traveled some for shows and even released a recording but sadly never made it big. The one glimmer of hope that I found in this book was the Yak Band performance that took place for the Dalai Lama's sixtieth birthday celebration. The audience was receptive to the rock 'n' roll song "Knocking on Heaven's Door" unlike other times when Western music is played in their presence. It makes me hopeful that one day Tibetans in exile will allow their music to be modernized. I would hope that the Tibetans would learn from history and the changes that can result from using music in a proactive manner. I'm fearful that if Tibetans don't become more open-minded, their fear of losing their cultural identity will actually come true.

Music & Political Movements

I really enjoyed the chapter in Thomas Turnio's Music as Social Life regarding music and political movements. We've talked so much about the various types of music-making as well as the different symbolism, indices, and icons that come forth in music as well. I felt this chapter in particular summarized everything that we had been reading about. I've always had an idea that music was a channel for change, but once you start delving into the history books, you really begin to gain a sense of the extent in which music has been used to cause change.

Looking further back than the Nazi regime (WWII) and the Civil Rights movement that we read about in the book, one can find many other examples of music being utilized as a conduit for change. In order to gain a thorough scope of the number of civilizations and cultures that have used music for change, I will briefly discuss the instances in which music was utilized for change and discuss how such events occur.

The Greeks were among the first known civilizations to realize the true potential of music. They realized it could be used to unite a people to rebel against their government. Plato was even quoted as saying, "Any musical innovation is full of danger to the whole state, and ought to be prohibited. When the modes of music change, the fundamental laws of the state change with them." Plato had a lot of foresight in this quote, unknowingly or not. I wonder what he would think today knowing the number of instances that music and politics have wandered hand-in-hand.  

After the time of the Greeks, music still played a prevalent role in the lives of various people looking for change. Prior to Turino's mention of the Civil Rights movement and music, American slaves in the South, centuries ago, used music to pass time in the fields and to voice their opinions of servitude and freedom. The songs that were sung in the fields resonated were known by slaves located states away. Despite this separation, there was a calming, uniting effect knowing so many others felt exactly as you did. These same songs from the slave days carried over to the Civil Rights movement, and just as Plato mentioned, they ushered in a drastic change in this nation. 

Additionally, in the 1970s, rock 'n' roll was used to protest the Vietnam War. Those that were opposed to it voiced their opinions through song lyrics. Hundreds of protests occurred across the nation during the Vietnam War, and music was a focal point of these gatherings. It was an efficient way of uniting individuals to the same cause. More recently, in the 1980s, rap artists used music as a social movement to raise awareness about the poverty and violence plaguing low socioeconomic neighborhoods in major cities. 

An interesting aspect about music is that it is much more than instruments creating a beat and random words making lyrics. The music speaks to not only the individuals directly involved in the cause but those who may have compassion towards the particular efforts. The music evokes a sense of duty to the individuals who listen to it. Music alone is not what causes change; it just initiates it. The actions that result from the music is what drives the meaning home. Even though music and political movements have been studied, the relationship between music and people is still unclear. It could be a biological process for survival that makes music such a relevant force for change, or it could merely be a social part of our culture used to bind individuals together. Music for many years has been regarded as "the universal language." No matter one's language or ethnicity, music will speak to you. And I think that this is the reason music has been so successful in bringing about change in the world. Individuals, who have the ability to harness music for various causes, can be quite powerful. From readings and history, music has played a vital role in supporting or opposing the following movements: Jewish genocide, slavery, Vietnam War, violence, drugs and freedom. I don't foresee the elimination of music in political and social movements of the future. If anything, they may become more widespread since many more individuals have access to technology, which helps propagate its power and reach.    

Bachata

After an entire summer of attending Salsa nights at a local Manhattan club, I finally began to recognize both the music and dance moves associated with bachata. Needless to say, bachata become one of my favorite dance styles. The basic steps are not complicated, and once you master them, you have the ability to add your own flair.

Bachata is a style of dance and music that originated in the Dominican Republic. The dance is generally performed in a simple side-stepping motion now rather than a small square when it was first created in the 1960s. The dance consists of 3 steps and a tap step that is normally accompanied by a "pop" of the hips and can be danced in an open or closed position.

Just like many other dance forms, bachata has evolved over time. The style that is performed in the Dominican Republic is often referred to as "Dominican bachata." Bachata has gone through various fusions with other dances such as tango, salsa, and ballroom. The music that accompanies the dance has not really changed over the years. It still has the obvious "accent" (the bass)in the rhythm that falls on the fourth count. The only changes that may have occurred in the music is the tempo. Bachata started out as a slower, social dance but has since evolved into a quicker, flamboyant dance.

I really enjoy dancing bachata. It reminds me of contra dancing in some aspects because it is simple enough that beginners can quickly pick up the basic step yet allows those that have more experience to add their own flair. Bachata, can even be danced solo, although it is much more fun to perform with a partner. I, like many others that enjoy bachata, can't escape the urge to dance once I hear the musical "accent" of bachata come across the radio.

Russian Ballet Controversy

Fired Bolshoi dancer Nikolai Tsiskaridze gets controversial new job

Nikolai Tsiskaridze was fired from the Bolshoi ballet company in Russia. He was said to be associated with an acid attack on a fellow dancer, Sergei Filin. Although he had announced his retirement amidst his firing, he has not disappeared from the Russian ballet scene. He has recently been appointed to the prestigious position of rector of the Vaganova Academy in St. Petersburg. The Vaganova Academy originated from the ballet school funded by Empress Anna Ivanova in 1738. Thousands of children audition every year for entrance into the program and many of the graduates feed into the Mariinsky Ballet company. The training received at this academy is seen as the gold standard around the world.

Tsiskaridze's appointment to the position has been controversial because he doesn't have the extensive coaching experience nor the "legal education" that the academy ministry desired or his predecessors possessed. Vaganova likely appointed Tsiskaridze as rector because of the growing tension between the academy and Valery Gergiev. Gergiev, the general director of Mariinsky company, has been trying to place Vaganova Academy under the umbrella of the Mariinsky company.

The ballet companies in Russia have been rather troubled. Gergiev, some say, rule Mariinsky with an iron fist. The dancers work long hours, perform repetitious shows, and have extensive touring schedules to support the projects that Gergiev is most interested in. Not even those at the top-rated Vaganova Academy are free from scrutiny. A former lustrous Russian ballerina was removed from her positions with Vaganova as their artistic director. The Bolshoi are likely glad to no longer have Tsiskaridze in their portfolio, but it is still difficult to tell what impact he will have on Vaganova.

For me, music and dance have always been a fun past time. I would never imagine either being a channel for politics and scandal. I think one of the most important things the author mentions in the article is "Whoever prove to be the winners in this story, chances are it won't be Russian ballet. Once again the art form finds itself at the mercy of people's agendas, batted around by forces that have little to do with its own health and future." This is one of the issues that I have with presentational performances. When music and dance begin to formulate as presentational performances, I feel the originality and natural progressiveness of the art form is stifled. In Turino's readings, he mentioned that presentational performances allowed for artists to have ingenuity and showcase their individual talents. I think that sometimes the opposite can happen; performers will get "stuck in a rut." If they're having success in a certain performance type, they won't go outside the box because it could go horribly wrong for them. I think performances (especially presentational) need to be more about the music/dance and its progression rather than the individuals that perform it. 

Ponderosa Stomp--Music Revival

The Ponderosa Stomp celebrates 'unsung heroes' of American music this weekend

The Ponderosa Stomp hosted it's 11th annual festival (with the exception of 2012) the first weekend of October in New Orleans. The festival was started to pay tribute to the 'unsung heroes' of American music. All types of music styles are represented at the festival including rock 'n' roll, swamp pop, soul and garage rock. The festival tries to showcase the 'best music you've never heard of.' Many of the artists are from the 1960s-era as well as numerous other 'originators, innovators, and/or trouble-makers.'

The festivities surrounding Ponderosa Stomp last for a few days. Activities start on Thursday, but the main action is the concerts on Friday that play through the night from 8pm-3am. The Ponderosa stomp was actually created by Dr. Ike, who was an avid collector of unknown rhythm and blues, garage rock, swamp pop, soul, blues, and rockabilly records. He gathered other like-minded individuals and started the festivities as a way to bring their collections to life through multi-night concerts.

Through the years, the festival has expanded to include films festivals, record sales, and scholarly conferences with the Rock 'n' Roll Hall of Fame. The Ponderosa Stomp Foundation was even formed, as a result of the festivities, to promote educational activities related to 'The Stomp.' This has resulted in 'Stomp-themed' concerts in New York and at the South by Southwest festival in Austin.

I think that it's really cool that this festival came out as the result of a few people wanting to showcase their interest in 'unconventional' music. Reading this article reminded me of "old-time" music revivals that occurred in the Appalachian Mountains that eventually led to the development of bluegrass. In that instance, people in the Appalachians started the "old-time" music revival to gain a sense of belonging and unity in their lives. For those involved in Ponderosa Stomp, they started the festival to unite those that had similar interests in the 'unsung heroes' of American music. Just like the "old-time" music revival, Ponderosa Stomp has taken off in popularity and is being welcomed by many different people.

Clogging

For many years, I thought clogging was the same thing as tap dancing. However, as I grew older I started to learn there is a distinct difference between the two dances. My Mom helped me in understanding this difference because in her youth, she had participated in clogging while growing up in the Appalachian Mountains of North Carolina.

Clogging is a type of folk dancing that involves percussive strikings of the heel, toe, or both. It has its origins in Wales and England and was brought to the U.S. with European immigration. Clogging is the state dance of both Kentucky and North Carolina. Clogging is often associated with "old-time" music that  takes from Irish and Scottish fiddling; while, the dance movements are tied to German, English, Irish, Cherokee and African dances, rhythms and movements. Tap dancing actually developed out of clogging, but with different musical accompaniments and movements.

Even though clogging started as a social dance for the people living in the Appalachian regions of the U.S., it has not remained that way. In recent years, clogging competitions have sprung up across the nation; they have become a recent phenomenon. The competitions are extremely competitive, and there have even been reality TV series depicting the lives of those on clogging teams. It's is immensely fascinating to me how a social, joyous dance that was highly participatory in its origins has moved to become a presentational, competitive dance.

Revival of Maloya

Maloya: The protest music banned as a threat to France

Maloya is a type of dance music that was developed in Reunion, which is an island located in the Indian Ocean and is governed by France. The music was banned by France in the 1970s because it was seen as a threat to the French state. The music was sung in Creole, not French, and had its roots in Africa from the slaves that were brought to the island to harvest sugar cane.

France was not the only one that disliked the maloya music. The Catholic Church was not in favor of it because it was used in ceremonies where participants would enter a trance and come face to face with their ancestors. The French government was highly opposed to the music because it was protest music. In the 1970s, the Communist Party utilized maloya as protest music to voice to France that Reunion wanted to become independent. France saw this as very threatening and chose to ban the music. Anyone who was found openly producing or performing maloya would be place in jail.

In the 1980s, the music was not only re-legalized but was also funded by the French government from a cultural standpoint. Reunion did not gain its independence, but maloya was no longer used by the Communist Party as protest music to gain independence. There is still quite a disparity though between French nationals and those in Reunion. Unemployment rates are extremely high for those on the island, which has generated much frustration for those between the ages of 18-25, who have the greatest level of unemployment. Even though maloya is now legal and not being used as protest music, it is still a means of voicing frustration towards the French government. Maloya musicians will talk about the hardships they face because of the high levels of unemployment and cost of living. It would do the French government good to learn Creole to gain a true understanding of the hostility the islanders have towards the French.

I was glad that I came upon this reading because it really spoke to the idea of music being an outlet for frustrations and voicing opinions. It also showcased a more recent example of what we read about in Thomas Turino's Music as Social Life. In one of his chapters, Turino talks about how music has often been associated with various political movements. This was very much the case for a duration of time in Reunion. As I mentioned, the Communist Party help protests during the 1970s in Reunion asking the French to release the island from its control. One of the vehicles they used to gather individuals together and draw them to their cause was maloya music. It was a music type that had developed on the island so it was a perfect tool for the Communist Party to use. This article reminded me of what Turino wrote about when he mentioned the Nazis banning forms of music that were associated with Jews or African peoples. In the case of jazz though, some of it still survived because of the immense popularity it had among the Germans. The instance in Reunion with maloya is semi-reflective of what happened during WWII. The French, just like the Nazis, banned maloya music; however, it was very much a cultural and popular music type on the island so they were not able to completely eradicate it.

Gregorian Chant

As an individual who was raised as Roman Catholic, there were certain times of the year when Gregorian Chant would permeate through my house. Most often, the music was played during the Lenten season (time between Ash Wednesday and Easter). I always found the chanting of the monks captivating. I generally didn't understand all that they were saying since Gregorian Chants tend to be in Latin, but I enjoyed the music nonetheless. 

Gregorian chant was developed in the 6th century and is often associated with St. Gregory. The chants are musical repertoires used to accompany liturgical parts of the Roman Catholic mass. Gregorian chant can be related to a "sung Bible" because it comes from sacred Latin text of the New and Sacred Testament. The whole purpose of the chants is to encourage spiritual growth and reveal the full gifts of God. 

Gregorian chant in its inception was an aural music. I have often heard of music being passed down orally or through manuscripts but rarely through hearing. The Gregorian chants were heard and committed to memory. This aural tradition was much more common in the early centuries of music-making. As Gregorian chant became widespread in the 8th century, we began to see more manuscripts of the music. This initiated quite a change in the past traditions of Gregorian chant. The music became less interpretive and no longer required the use of memory. During the Renaissance, melodies that used to contain long vocalises were reduced to a few notes; while, literary compositions representative of the Roman liturgy were "corrected" against verbatim biblical readings. These changes continued for two hundred years and came to be known in English as "plainsong." 

In the 19th century, a young monk, Dom Prosper Guéranger, took it upon himself to restore Gregorian chant back to its pre-Renaissance state. He was successful in his mission, and the chants we hear today are reminiscent of his work. I'm especially glad that Guéranger restored the music back to its previous state. If he had not, I don't know that the Gregorian chant would have continued to touch so many people and achieve the objectives it was designed for (i.e. spiritual growth). Listening to the Gregorian chants during Lent helps me achieve a greater understanding of my religious background and enriches my Lenten devotions. 

Blue Man Group Performance

On September 26, 2013, I had the opportunity to attend the Blue Man Group performance at McCain Auditorium in Manhattan, KS. It was an incredible experience. It was unlike any other performance I had been to! I was really glad to be taking Ethnomusicology when I saw this performance because it touched on material we had discussed in class. We read in Thomas Turino's book, Music As Social Life, that there are four types of music-making: participatory, presentational, high fidelity, and studio audio art. The reason the Blue Man Group, in my opinion, is unlike any performance you will ever see is because it encompasses all the music-making types!

It is evident to the audience that the Blue Man Group would be classified as a presentational performance. It is highly rehearsed, showcases individual artist's abilities and promotes innovation. As a part of the audience, I thought that was all I was going to experience--a presentational performance. I was quite surprised to find it was the opposite. I wasn't the only one who was surprised. At the beginning of the performance, the audience was supposed to recited words that came across the screen. Initially, only a portion of the audience participated, but after a few recitations, the majority joined in. In today's society, we are used to attending performances that are solely presentational. The audience doesn't generally participate in any fashion.

In addition to having to recite lines, if we did not actively respond or participate in the performance, the performers would often stand still. This part reminded me a little of the commedia dell'arte. In commedia dell'arte, it was the duty of the performers to keep the attention of the audience. If they were losing it, they had to improvise their performance a bit to gain it back. The Blue Man Group did this often. When we'd go silent or have long pauses between reactions, they would stop what they were doing or do something rather extravagant to regain our attention. Some may consider that odd or a negative of attending such a performance, but it was a nice change. We, as the audience, had some say in how the performance went.

Not very often does an audience experience high fidelity and studio audio art at the same time. The Blue Man Group was able to do that! The sounds and quality of music-making were representational of a presentational performance. Even though I was at a performance, what I was hearing sounded like something I would hear off a CD (minus the audience noises). Additionally, there were many sounds that I don't typically hear in other music-making types. The Blue Man Group had a lot of studio audio art music-making. To me, it was almost galactic! There were lots of weird sounds being made either through computer generation or intensive manipulation. Much of the studio audio art that I've heard I have not been a fan of, but I really enjoyed the Blue Man Group's take on it. It didn't seem out of place in their production.

I really loved this performance. I'm glad that I had the opportunity to go! It was so amazing that the Blue Man Group was able to intertwine participatory, presentational, high fidelity and studio audio art into their production. The best part was not only were the able to complete such a feat, but they provided the audience with a live dance party at the end involving huge light-up balls, disco lights, and flailing air tubes.

Participatory vs. Presentational Performances

Until reading Thomas Turino's Music As Social Life, I was unaware that there was a classification for music-making other than genres. The book talked about participatory, presentation, high fidelity, and studio audio art music-making. I found the contrast between presentation and participatory to be the most interesting as well as the two types I associate with most.

Participatory music-making is my favorite, hands down. I'm a very visual and active learner. I've always been drawn towards music, dancing, and singing. This may have come from my siblings and me having dance parties in our kitchen growing up. It was not an uncommon occurrence for me to join along in song and dance with the radio, a band, or another group of people dancing/singing. For me, (almost) all types of music-making are participatory.

The thing that I found the most interesting yet sad was more cosmopolitan areas/countries don't emphasize participatory music. In areas of the world such as South America and Africa, participatory music is an integral part of their culture and celebrations. Those cosmopolitan areas prefer presentational performances; they solely want to be entertained. Although I do enjoy presentational music-making, I still manage to make it participatory for myself. Either I know the production or group that is performing and I start participating in my own way. Of course, I don't become obnoxious with my participation because I'm still restricted by the social norms of presentational performances.

I find it disheartening that we've lost the desire to favor participatory music. In some areas you can find it, but for the vast majority of the U.S. you won't. I know that many people do not like participatory performances because they're unrehearsed, impromptu times of music-making that "stifle" the progression and ingenuity of artists. Even though this may be true in some cases, I think you'd be hard pressed to find someone who would speak negatively of their participatory performance music-making. This is because participatory music-making is designed to welcome all levels of talent yet still provide a simple, challenging engagement for everyone.

Presentational performances do the opposite. Yes, an individual or group can better express their musical talents, but the pressure and expectations of presentational performances are much greater than participatory. Many artists never make the transition to presentational performances for this reason. As a presentational performer, you are subject to critiques and feedback from your audience. I've performed on numerous occasions with my choir in high school as well as the band. Even though I was in a large group, the expectation to do well was high. Our shows were exclusively presentational. The weeks leading up to a concert were always filled with lots of rehearsing and tweaking to ensure our performance would be "perfect." It was nice to showcase our work to the community, but I found this type of performing to be my least favorite. Shows were always successful; I just preferred to let loose, be myself, and enjoy the music, which I couldn't do in presentational performances.

I can't rightfully say presentational is better than participatory or vice versa. Each person has their own music-making preferences. I gravitate towards participatory performances yet I enjoy attending presentational performances. It could be suggested that a blending of the two would be beneficial, but I don't think that it would be. It just adds further confusion to the audience as to what they should be doing. Do I just listen or do I need to get up and move? I've been to numerous performances that are of this type--participatory and presentational. I do enjoy the participatory sections; however, they are sometimes distracting. It's also evident in many of the audiences' faces that they were not expecting such a turn of events. The two music-making styles should continue to be somewhat separated. I just hope (wish) that participatory music-making becomes a larger component of our society.

 

Revolution of Afro-Reggae

In class, we watched a majority of the film Favela Rising. The movie was about the Afro-Reggae movement that took hold in the Vigario Geral favela in Rio de Janeiro, Brazil. Rio has numerous favelas on the outskirts of the city, and they are all overridden with violence and drug gangs. Many people in the favelas are fearful to say anything or stand up to the drug lords that run the streets. A group of young men, who had chose to escape the drug life, began to change that through music.

Afro-Reggae came about as a means of bringing awareness to the favelas about the dangerous life of being a drug lord. Anderson was the main character we heard from in the film. I was really taken aback by his courage and willingness to do anything to help the people in Vigario Geral. His vivacity was contagious, and you could see why he was one of the leaders of the movement. His song lyrics talked of the tragedy that was being caused by youth dying so young at the hands of drugs. Despite his presence in the favela, many people still refused to listen his message. One of the most interesting scenes in the movie for me was when he was talking to the group of young boys. One in particular was not keen on talking to Anderson; he wouldn't even tell him his real name. The boy kept saying how he wanted to become a drug leader. Anderson kept telling him that was no life to live. That you never saw old drug leaders, and that was because they had died young as a result of their work.

This was not the only opposition that Anderson and his crew had to face. I, honestly, was surprised that there wasn't more than the one person we learned about in the video whose life was taken in connection with Afro-Reggae. I was very fearful when Anderson began telling us of the instance where a neighboring favela drug gang came to attack him. I was amazed that his fellow Afro-Reggae members were willing to die with him. The most shocking part occurred when the drug leader allowed Anderson to talk. This happened because he had heard of Anderson and what he was doing. Even though many people may have not agreed with the messages Afro-Reggae was dispersing, some drug lords were giving them respect. This is what saved Anderson and his friends that day.

I always knew that Rio had a troubled life for those that live in the favelas yet I was not aware that is was as terrible as we saw in the film. There are more people being massacred in Brazil than in the Middle East, which is a place that we associate with high levels of violence. I feel that this movie really points to the power and influence of music. For the youth and many others that lived in Vigario Geral, Afro-Reggae became their alternative to drug life. It provided them with an escape. For the Afro-Reggae leaders, their voices were finally heard, and they were able to get a record deal to promote their message to the world. I feel this is an ideal example of how something as simple as music can change the world or in this case a favela.  

Golden Record: Voyager 3

It was really interesting to learn about the compilations that were sent with the Voyager missions to space. I can't even image the amount of time and effort it took the "composers" to gather all the material and formulate the tracks for the alloted time. However, after learning from the readings what was included and excluded, I think that I would add different items to the Golden Record if a Voyager 3 was created. 

Life is vastly different than what it was when the original Golden Record was created. I think there is much that could be added to it in order to further display our world to anyone who might find the Golden Record. Despite there being much to take into consideration when choosing articles to put on a Golden Record, much of what I would include are items that were excluded from the original record that I felt should have been included.

My Golden Record would include the following:

• Contemporary Music
• Including musical works such as Hip-Hop, R&B, Rap, Rock, etc. would be beneficial to include because these are works of art that have drastically changed and shaped much of current society. I would have also arranged the music in a progressive and/or chronological order. It would provide a timeline for the extraterrestrials who find the record. 
• Non-Western Music
• The Golden Record contained many classical style compositions yet that only comprises a small part of the music-making in the world. More Non-Western music representative of the different cultures on Earth should have been represented. Those cultural compositions better portray celebrations and interworking of those cultures. (i.e. Polka, Gregorian Chant)
• Instrumentations
• I think that it would have been nice if there were quick musical snippets of as many instruments that could be compiled. It would aid the discoverers in understanding how certain instruments sound especially when they listen to the musical works. They would be able to better define 'what' is making the sound. 
• Animal Sounds
• I found it very interesting that there were very few animal sounds on the record. Humans comprise a certain portion of Earth's inhabitants, and the rest is other species. I would have included sounds of the ocean (i.e. whales and dolphins), the jungle (i.e. parrots and monkeys), and more sounds of the sahara (i.e. lions and cheetahs) in order to represent animal sounds from the various ecosystems found on Earth. 
• Photographs
• I would include images of war and natural disasters. These images were left off the original record, and I was shocked to learn this. I feel that we should portray ourselves and Earth as we really are--imperfect. The good and the bad should be displayed to anyone who would truly want to know about us. I would focus on the images from WWI and WWII because they were battles that encompassed and affected the whole world not just particular parts. I think it's also important to include images that display the power of nature on Earth. How it can instantly wipe out a population/species/place. 
• Conversations
• It would have been nice to include conversations between family and friends in various languages. The original Golden Record only provided music, photos, and greetings. If I was the discoverer of the Golden Record, I would wonder if the "creators" had the ability to talk. It would be nice to include these so the extraterrestrials could understand tone and hear a wide breadth of topics that are discussed amongst friends and family. 
• Scientific History
• This would be a more personal inclusion, but I've been reading A Short History of Nearly Everything by Bill Bryson, and I think that including historical discoveries should be added. If it was possible, I would have it told in various languages (Spanish, Mandarin, English, etc.). I think it would be important to tell extraterrestrials from beginning to current everything we know about our planet. It would help in painting the picture of where we live, and the capabilities we have as humans to discover, explore, and quantify the world around us.  

Is Musical Ability Innate?

At the end of class several weeks ago, we were left with the lingering question: "Is musical ability innate?" I found this question rather compelling and felt it required further discussion. It's natural for us to assume a famous artist or composer is naturally talented. They just began playing or signing as if it were an everyday task like eating or walking. But is that really the case? Were they born with the natural ability to play an instrument or sing beautifully or even compose lengthy sonatas?

For years, the war has raged between Nature vs. Nurture. Depending on the sources you consult, one might say we are born with certain natural abilities, and that determines who we are and what we're able and not able to do. Others will say that who we are and what we can accomplish stems from the environment we were raised in. I believe that both cases are true. Each person is likely born with some inclination toward a certain activity, musical or not; however, the nurturing of that tendency will determine whether it becomes a natural habit or not.

I am the youngest of six children, and we all have varying degrees of musical ability. Neither of my parents is musically inclined. In our case, one might argue that whatever musical tendencies we have are a result of nurturing. I would have to agree and disagree. My mother and father, although not musical themselves, grew up in families that enjoyed music and dancing. They from a young age had been influenced by music, and it played a large role in their lives even if they themselves did not sing or play instruments. With the history of music on both sides of the family, it is quite possible that we all received some natural inclination towards music but not the same level of nurturing. I, of all my siblings, am the most musically accomplished. This may have resulted from me being the youngest; more resources were at my disposal to pursue my musical interests. I took piano lessons for 9 years and also learned how to play the trombone and clarinet. Throughout my years of lessons and youth, I constantly sang. I performed in a large and small select choir for several years. I also competed in both vocal and instrumental competitions growing up. As a result, music became a natural habit for me. I'm even currently learning how the play the guitar. Having nurtured my musical ability growing up, I'm able to quickly pick up on instruments and can easily read music when it's placed in front of me. I would say that I do have a natural musical talent but had I not been given the opportunity to develop it, it wouldn't come as 'naturally' as it does. I would have likely followed the road of my siblings and been limited in what I could do musically.

I find this debate fascinating. Most other cultures don't concern themselves with this idea. Music is such an integral part of their culture that everyone participates no matter what. It's in more developed nations that musical ability really must be subject to Nature vs. Nurture. Many people would not boldly say they're a 'musician.' They may play an instrument or sing nicely, but they'd say they're not musical. For us, musical = professional. We associate a person's musical ability to their level of stardom. We only assume that they're where they are because they have that natural talent; there was no nurturing involved.

For me, musical ability will never be one-sided. It is always comprised of both nurturing and nature.

Canadian Music Fee

New fee for musicians visiting Canada could hurt small concert venues

On July 31, Canada passed a law saying "employers" would have to pay a $275 fee for each member of foreign bands that play in their venue. Before, this fee fell to the taxpayers. Foreign musicians that want to play in any Canadian bar, club, or restaurant have to apply for a work permit, which costs $150, but now with this $275 fee, foreign bands may stop coming to Canada to play. The cost could quickly add up since the $275 fee is per musician. There is much controversy surrounding this new law. Some Canadians say it's beneficial because it allows Canadian artists the first chance at jobs; while, others feel the opposite. Many club owners and others feel that this fee will kill the music scene in Canada. Groups that play at the Air Canada Centre or the Rogers Centre are exempt from this fee because these are considered concert venues.

I was shocked to read this article. I had never thought music-making could cause such a stir and be governed by such fees and restrictions. I think one of the greatest things about music is its dynamism. To me, this means allowing free access to music and sharing it with various peoples. In the article, one opposer of the new law says this new move is "trying to shut the door on culture, which makes us unique and sets us apart from every other country." I think he's right. Many young people these days flock to small venues to hear new and/or upcoming artists from all over the globe! This fee does make it more difficult for bands who want to tour Canada to showcase their musical talents.

On the other hand, I see the intention behind imposing these new fees. Canadian artists, as stated in the article, struggled to get jobs and were often beat out by their foreign counterparts. I can't imagine what it would be like to struggle to book a gig in your own country. This part of the discussion reminds me of the Blue Chicago readings. In the latter part of the book, we learn about reverse discrimination. Black artists were the ones always being booked in venues because of their "authenticity" even though white artists may have been just as good at blues music-making. It appears as though a similar thing was happening in Canada. Small venues sought out foreign bands to fill their calendars rather than local Canadian bands. Canadian artists struggled to book shows because "culture" was seen as only coming from foreign artists. This fee may provide Canadian artists with the first change at jobs; however, I'm uncertain this fee will really change the ratio of foreign bookings to local ones. Rather, the Canadian community may need to accept that "culture" comes in many different fashions, foreign or local.

Will Rap be protected by First Amendment?

Hip Hop Controversy: Rap music may be facing new challenges

Like most all styles of music, rap has transformed over the last few decades. Rap has been a style of music that has always been on the verge of controversy. Many rappers hail from inner city life and low-income families. Their childhood is often plagued by violence and scandal. Music for them is an outlet; a place where they can voice their issues and struggles in order to cope with the turmoil around them. The lyrics of most rap songs have always been questioned, but it seems as though now people are finally taking a stand.

Recently, prison-guard turned rapper, Rick Ross, showcased lyrics in one of his songs glorifying drugs and date rape. Survivors and activists charged at Ross for his unabashed lyrics. Unfortunately, Rick Ross is not the only artist to sing about such things. The question is now being raised, "Are the artists the only ones to be blamed?" Many people are petitioning to have the record labels who allow these artists to produce such scandalous lyrics to be held liable as well. People want safeguards in place that would make both the producers and artists accountable for what is being distributed. However, with the surge in popularity of these songs, would imposing such a reform alleviate the controversy? I don't believe it would. As the article mentions, these artists have such a high following that even if a small portion of people were to boycott them, they could easily go sell their product to someone else. Besides, in years past, rappers spoke of violence and shootings yet there were no actions taken to prevent them from continuing to do it. It just became an accepted thing. This is partly due to mainstream TV airing shows that depict greater levels of violence than in the past. These shows started depicting what the rappers were singing about, and people became desensitized to the violence. A similar thing is bound to happen with this case, I feel.

Music is an integral part to our society and culture. Having the ability to voice our opinions and lifestyle in a manner without fear of prosecution is one of the foundations this country was built on yet outside the rap community, these two ideas are disjointed. Music, which was once an outlet for people for various reasons, is now being targeted for this exact reason. It's okay and welcomed to create music. However, the moment it objectifies or promotes a negative aspect of society, listeners immediately renounce it as music. They seek to classify it as controversial and anything less than music.

Although I do not agree with many of the lyrics found in rap songs today, I don't feel we can  place all the blame on the artists and the producers. The music, in fact, is being produced for the masses--for us. So shouldn't we be the ones at fault for accepting this as music in the first place? Yet, either way, it will be hard to eradicate such lyrics from music. Music is highly influenced by culture (local, community, state, etc.), and that's all the artists are doing--making music expressive of their culture. Unless, the plan is to exterminate a culture, I think rap music is here to stay.

Belly Dancing

Belly dancing has an extensive history across the Middle East. It can be dated back to 500 BC during the times of the Egyptian pharaohs. Many Westerns assume that it is something that is found in every Middle Eastern culture and is purposefully performed in a sensual way. In fact, the term belly dance is a Western coined term meaning "solo, improvised dances based on torso articulation." There are two main forms of belly dancing--Raqs sharqi and Raqs baladi. Raqs sharqi is generally performed by women and is the form of belly dancing we are more familiar with; while, raqs baladi is the local type of belly dancing that is performed socially by both men and women at festivities such as weddings. Belly dancing consists of percussive and fluid movements as well as vibrations, shimmies, and shivers. 

Belly dancing is either performed in a social or presentational aspect. In a social aspect, individuals of all ages will dance and wear their typical clothing. Performances are just polished versions of the social dance and include costumes that will showcase the part of the body generating the movements (i.e. the hips). Women who decide to pursue belly dancing professionally in the Middle East are looked down upon because they're displaying their bodies in public. 

The history of belly dancing is reminiscent of the reading we read in the first few days of class discussing whether ballet should be considered an ethnic dance. Ballet like belly dancing has been influenced by various cultures and ethnicities. I don't think this undermines belly dancing's 'authenticity' or being classified as 'ethnic.' Instead, I think this part of the dance's history makes it more appealing. It not only showcases its origins in the Middle East but reflects the influences of all the peoples who've developed the movements over time. I find these types of dances the most intriguing because they still preserve their origins while molding to encompass aspects of other cultures. 

Bhangra--Bollywood Sensation!

Bhangra is a type of dance that originates in the Punjab region of Southeast Asia. This style of dance originally developed as part of harvest festivals but has since transformed into a lively dance that is performed at weddings, New Year celebrations, and many other occasions. Bhangra has seen the greatest change in the last 30 years. It has been made famous worldwide through Bollywood movies as well as it's merging with more contemporary music such as hip-hop, house, and reggae. 

Bhangra may have origins dating back to 300 B.C.; however, it was in the 14th and 15th century that harvesters began this style of performance in order to pass the time during harvest. It quickly gained popularity and moved up the social ladder. Bhangra today has continued to evolve and the term "Bhangra" encompasses many subclasses of dance. During professional performances, traditional costumes are adorned by both men and women. The men wear a long Punjab-style shirt with a colorful piece of cloth wrapped around their waist and a turbin on their head. Women wear traditional Punjab attire, consisting of long colorful shirts and vibrant pants. They often wear a colorful piece of cloth wrapped around their neck known as a duppatta. 

I was first introduced to Bhangra while watching a Bollywood movie entitled "Bride and Prejudice." I was fascinated by the vibrant colors, hand gestures, and body movements that were being performed. It's indeed a very lively form of dancing. I do know some of the basic movements, which I learned from a follow-along TV fitness program. Participating in an actual Bhangra performance, is one of my life-long goals. I can't help but get up and dance what movements I know whenever I hear the Punjab-style music that is often associated with Bhangra. 

Corridos to Narcocorridos

Mexican 'Corrido' Music Becomes Anthem for Drug Traffickers, Film Shows

Drug trafficking in Mexico has been cause for concern for many decades. Recently, the Mexican drug cartel has begun to utilize music to promote their cause. Many people are familiar with corridos, which are traditional Mexican folk ballads generally played by 'banda' groups consisting of tubas, trumpets, accordions, and guitars. 'La Cucaracha' is a common corrido that most people are familiar with.

Today many groups are creating a new type of music called narcocorridos that glorifies the drug trade. It's attracted much attention in Mexico because this music type portrays drug lords as 'Robin Hoods' of Mexico. Drug cartel leaders are providing many of the funds for these narcocorridos to be produced. Mexico and the U.S. have showcased concerts featuring this new type of music not because they want to promote the drug wars per se, rather it's the music people want to hear and are willing to pay for. Because the music is so widely praised and accessible, much of Mexico's youth now say they want to become famous narcos or have narco boyfriends. The influence of the narcocorridos on Mexican youth is quite strong as opposed to the U.S. where people know they have another alternative than drug trafficking.

This article for me was really interesting. I'm quite familiar with 'banda' groups and traditional corridos, but I was not aware that it was being used as drug trafficking propaganda. This story reminded me of the film 'Favela Rising' that we watched in class, only reversed. In the film, Afro-Reggae sprouted as a means of saving individuals from a life of drugs and ultimately a young death. In Mexico, it is quite the opposite. Narcocorrido music is being used as a means of recruitment to the drug cartel--glorifying the life of a drug lord; whereas, Afro-Reggae speaks out against drug trafficking and the harsh reality of the drug cartel. To me it's rather fascinating how music can be utilized in such vastly different ways. Both Afro-Reggae and Nacrocorridos are being used to successfully 'unite' individuals to a common cause; however, these causes are starkly different!

Jarabe Tapatío--Mexican Hat Dance

This image depicts a traditional dance of Mexico known as the Jarabe Tapatío or more commonly, the Mexican Hat Dance. The Jarabe Tapatío originated in the state of Jalisco as early as the 18th century. Prior to the War of Independence, the dance was banned because it was seen as defiant to Spanish authorities and morally offensive. The dance grew in popularity following the War of Independence; it was a uniting force for the Mexican people. With it's growth in popularity, it became the "national dance" of Mexico. It is a symbol of the Mexican people and their culture both inside and outside the country. The Jarabe Tapatío was introduced to the world after the famous Russian ballet dancer, Anna Pavlova, made it a permanent part of her dance repertoire. This dance is still taught to school children in Mexíco today.

The dance signifies the courtship between a man and woman. At the start of the dance, the woman rejects the man's advances, but as the dance progresses, she willing accepts his gestures. The man and woman are dressed in traditional Mexican garb. The large flowing dresses the women wear is known as the "China Poblana," and the dress of the men is that of charros, or what we would call Mexican cowboys.

I have seen this dance performed on several occasions and performed it once myself many years ago. I can't help but start moving when I hear the familiar tune of the Jarabe Tapatío. This dance represents my culture, and more importantly, where my family comes from...Jalisco! (I have also included a video of the dance.)