Music and Social Movements Andrew Jamison

Based on: Music and Social Movements, by Ron Eyerman and Andrew Jamison Cambridge University Press, 1998

movements as spaces for collective creativity where culture and politics can blend together helping to form new ”structures of feeling” songs provide a shared, or collective memory A Cognitive Approach to Social Movements

The Mobilization of Tradition ”movement artists” combine musical genres a kind of hybridization process leading to new forms of music-making as well as changes in cultural values

On Movements and Music From slavery to civil rights the movements of black music From populism to the folk revival the making of an alternative culture The movements of the sixties the making of global popular music

The Movements of Black Music The spirituals as a source of identity The ”New Negro” movement: Paul Robeson The emergence of jazz and blues The songs of the Civil Rights movement

From the Sorrow Songs... ”They that walked in darkness sang songs in the olden days – Sorrow Songs – for they were weary at heart...” W.E.B. DuBois, The Souls of Black Folk, 1903

Shout All Over God’s Heaven (1926)

Water Boy (1926) Paul Robeson ( ) Singer, actor, political activist

From the country blues... Robert Johnson, Cross Road Blues

We Will Overcome (1950) We Shall Overcome (1963)...to the Civil Rights Movement

The Making of an Alternative Culture Populism and the labor movement The popular front and the second world war The popularization of folk music in the 1950s The ”folk revival” of the 1960s

Joe Hill, by Phil Ochs (1964) The IWW, or the Wobblies (Industrial Workers of the World) A pamphlet, no matter how good, is never read but once, but a song is learned by heart and repeated over and over... Joe Hill, 1914

The people is a myth, an abstraction. And what myth would you put in place of the people? And what abstraction would you exchange for this one? And when has creative man not toiled deep in myth? from The People, Yes The Boll Weevil (1926) Carl Sandburg ( ) Poet and collector

Woody Guthrie and Leadbelly: The Makers of a Tradition This Land is Your Land (1940)

The Almanac Singers House of the Rising Sun (1941)

Goodnight Irene (The Weavers,1955) The Weavers and Pete Seeger: keeping the traditions alive in the 1950s

The Folk Revival: ”Woody’s Children” Where Have All the Flowers Gone (Joan Baez, 1962) Thirsty Boots (Eric Andersen,1964)

...and the folk revival of the sixties Only a Pawn in Their Game (Bob Dylan, 1963) ”I Have a Dream”: The Movements Meet Joan Baez and Bob Dylan at the March on Washington, 1963

Movements of the Sixties Bob Dylan: from folk to rock Janis and Jimi: the appropriation of the blues Phil Ochs: keeping the music political Woodstock: the end of the beginning

Blowin’ in the Wind (1963) Like a Rolling Stone (1965) Bob Dylan, from movement artist to cultural icon

Summertime, from Porgy and Bess, performed by Janis Joplin, 1968 The cultural appropriation of the blues

There But For Fortune (1964) Phil Ochs, We’re trying to crystallize the thoughts of young people who have stopped accepting things the way they are. Phil Ochs, 1964

When I’m Gone, sung by Eric Andersen, 1999 The Memory Lives On...

I Dreamed I Saw Joe Hill, by Earl Robinson, sung by Joan Baez at Woodstock, 1969