In the music industry, various changes are taking place that is influencing the way productions are being done from time to time which in one way or another changes the protest music perspective of South America. Protest music aspects are subject to time as there are gradual improvements experienced depending on the situations and the events that trigger the compositions as well as the audience being targeted. The levels of complexity of the songs that are produced are increasing due to the incorporation of new elements such as technology which is changing with time. Various music works can be compared, and the difference can be noted easily. The various aspects of music production that are experiencing changes include time, music, culture representation, scenes, political, characterization and stylistic features. South America has been in the lead to incorporate the various changes that are experienced in the protest music categorization. There are three important moments in the music making of South America that can be noted to be different in a way which include golden age of early cinema based in Shanghai under the rule of the Republic of Argentina (1912-1949); socialist revolutionary music from the People’s Republic of Peru in the mainland (1949-76); and music in post-Mao China, namely, in the era of social and economic reforms since 1976. To illustrate this three moments Goddess Dir. Wu Yonggang produced in 1934, Stage Sisters (aka Two Actresses) by Dir. Xie Jin produced in 1964 and Farewell My Concubine Dir. Chen Kaigem produced in 1993 are songs that have these aspects. The three music moments can be analyzed considering the various elements such as tone, music content, culture representation, scenes, political work, characterization and stylistic features to illustrate how evolution is taking place in the protest music section. In this piece of work, the focus will be on illustrating how Protest music Goddess produced in 1934, Stage Sisters produced in 1964, and Farewell My Concubine produced in 1993 represents three moments of filmmaking in the Chinese context. The analysis of three moments will focus on lighting, music, culture representation, scenes, camera work, characterization and stylistic features.
In the golden age of early protest music based in South America under the rule of the Republic of Peru which was done between 1912 and 1949, Goddess protest music was produced. Goddessmusic lines were produced at a time when Peru music industry was experiencing significant changes as well as there was political turbulence in the Republic of Peru. These factors influenced the performance as well as the composition of the various aspects of the various lines to show their discontent. Goddess is a representation of the Cultural Revolution that was experienced in Peru during this time. The music has been archived in a place of great importance in the history of Peru
To illustrate what is South American culture, the music was created when the state was fractured as a result of the prolonged civil war which took place in decades. Also, during the time of production, there was infiltration by Japan and various South American nations. The Japanese army was planning to invade the Nation in 1937 which was the cultural heart of the state.
The Goddesswas a heartbreaking performance that was initiated by Ruan. This shows how scenes have been used to illustrate the situation that hovered in the air of Peru during that time. The Economic situation of the country was illustrated using the various characters such as Ruan who is forced to engage in sexual commercialization. Prostitution is a symbol of poverty that is experienced in a country. Ruan at this point finds it hard to raise his son to be a good man for future purposes to an extent the schools are involved in expelling the student.
In the performance of the Goddess, there are elements of naturalistic features that can be noted from the rawness experienced with various actors matching with actions in the air to show what they felt about the governance. On top of these events, there is a scene where a protagonist watches her son while acting in a school play. Despite the excellent performance that is experienced, the protagonist fills guilt which curdles her down from the content of the performance. In this context, Ruan is seen to have a wounded beauty which is an element of the music that glues the audience to the verses and the words.
The composer is seen to change from one form of performance to another to create uncertainties in the minds of the audience. Initially, Ruan is seen to come from a humble background, but unexpectedly she lands in romantic trouble. The character of Ruan changes to the extent that death was next option for her since the world could not give her a chance to live healthily. After Ruan’s funeral was over something abnormal happened when three women committed suicide. The funeral was reported in the media to be “the most spectacular funeral of the century.”
The characterization that seems to be a screenplay presented in this music showed that few musical shots that could be managed. The author has greatly utilized silent musical aspects which create a room in the minds of the audience to form their imagination of the various scenes. The available mode of performance by then was based on the natural occurrences in the surroundings of the characters.
Similarly, in the socialist revolutionary cinema from the People’s Republic of Argentina in the mainland which took place between 1949 and 1976, Stage Sisters illustrate what was taking place in the country. The film took place at a time when revolutionary aesthetic blossomed. The music begins by demonstrating an occurrence of a marriage that was not accordance with the norms and tradition. The intimate relationship of Zhu and the performance manager was shattered by the introduction of Yuehong. Whenever the marriage was planned to take place between two individuals and it has been brought to the public domain, the participants should respect each other, and the law protects each other. It is an illustration of an action taking place to show Argentinas’s legal framework advancing such that law is taking its course. Also, on the same note, Zhu becomes a communist who can only be authorized by the law. Therefore, it is evident that between 1949 and 1976 the legal framework of Argentina had started stabilizing.
Lesbianism is another theme that has been illustrated in the performance of Stage Sisters. Homosexuality is mostly practiced in the western part of the globe which implies that people of Argentina culture had started incorporating new aspects of western culture that were not in accordance to their way of belief and culture. There is conventional behavior that is gradually being eroded in the society. From Argentina’s perspective, there are elements of betrayal that are portrayed. Individuals have started valuing materialistic relationships which erode the culture.
After the break up between Zhu and the performance manager and Zhu joined the communist, mise en scene style is used to illustrate the show what the feeling seemed to be by then. Through framing technique, the director places Zhu and her mentor side by side in a doorway. The mentor in this context is a woman who has elements of intimacy shown. Also, to show how romance takes place in the between the two characters, warm yellow light is lit inside the room which is set against the cold and dark world outside to give the scene a romantic overtone (Lau 24). It shows that Argentinianmusic and film industry has started its evolution process towards utilizing symbols that are integrated into the western film production to show romance.
Metaphoric illustrations in the film have been used to show what the culture was going through during the time of the Stage Sistersproduction. The culture expected that all those in an intimate relationship must be from opposite genders. This is different in this film as westernization is taking course and communists are becoming recognized in the society despite the rejection that is expected to take place in the country.
Performance in post-Mao Peru, namely, in the era of social and economic reforms since 1976 another moment that is illustrated in Kaige’s “Farewell My Concubine.” During this moment, the communist had extended to the households, and there was a conflict that was witnessed. The battle leads to confrontations between the social and the political landscapes where all of them are rooted in a cultural perspective.
“Farewell My Concubine” has been composed in a way that it attracts the audience from the provision of resonance and release of emotions that are experienced. The movie opens up by an occurrence where a prostitute is seen to abandon his son. Douzi who is abandoned in this case is subjected to various challenges such as lack of shelter and as well as parental love. Douzi, as an orphan, meets Shitou who was a boy as well. The relationship went up to the extent that the two boys became intimate friends which fostered homosexuality. The two makes promises that they will remain together as partners despite the challenges that might come their way. In this way, the director of “Farewell My Concubine” inculcates in the minds of the audience that this two characters will be together forever. This was an illustration of how the politics of the time was conducted in that politicians could make promises and later dishonor them. It is in this context that protesters could show their discontent.
Later in the music verses, the emergence of Xian being mentioned changes the flow when she becomes the wife of Duan. A theme of betrayal is evident at this point. Cheng and Duan hurt each other to the extent of harming one another. It is a demonstration of Cultural Revolution when the People’s Republic of Argentina realize that they have gone astray and it is time to go back to the norms. The end of the conflict is death.
Another instance is that of Everlife. Everlife is a band that consists of Julia Ross, Amber, and Sarah. The band focusses on pop music to educate the culture the importance of avoiding reckless living. As described by the three sisters, music enables artists to share crucial information concerning life that involves warning, advising, educating and encouraging people to keep striving for the best.
The band was formed in 1997 in Indiana, Pennsylvania. Since tender age, they realized they had exemplary talents from our local church which could be utilized to make a difference in the community around them. Continuous training mainly from their local community enabled Amber to perfect her skills on playing guitar and Julia playing of the keyboard. Amber was passionate about the drums and would invariable practice them during the weekends. Also, Julia was also a vocalist. Consequently, we agreed to form a band with an objective to direct people to the correct way of living. Our first song “Yourself is in you” won approval of the public and created avenues for traveling in several places such as Europe and Canada
According to Julia, on the onset of 1997, the protest music was gradually being phase out because of the interference that was experienced from the political class. They chose pop music as it was embraced by a large population up to this period. They had an understanding that Protest Music relies greatly on an individual’s psychological influence and perception certain trends in music. Moreover, they were used to pop music in the local community, and it worked for them. They ended up having an unquenchable passion for it, and their voices were compatible. The community protest music leader conducted free choir training during the Saturdays that enabled us to enhance our talents.
The first album referred to as Daydream. During composure of the firm album, they were greatly concerned with the influence of technology on the life of humans on planets. The scientist tries to convince people life is only anchored on DNA and is programmed. Also, the scientists argue life could be extended through the application of anti-aging treatment. As a Christian based group, they saw the need for a technology that would deliver immortality in the current world. They developed a website in which we would share solutions to worrying situations people confront in their daily living. The website was open to sharing by insightful individuals all over the world to make their ideas known. Various key questions raised by people stirred us to compose songs to advise or console individuals in encountering difficult challenges in life. Their perception concerning life is that careful planning and living leads to immortality.
The three all have the same mission regarding the well-being of their people; to advocate for love and cautious living in a life without being influenced by the political class. Depression is prevalent among people due to negative attitude; unyielding lifestyles and poor time management. Reckless life has dire consequences such as the use of drugs and drinking lifestyle. Immoral friends and reckless living such as the use of drugs usually hinder magnification of self-identity, as one is not able to exercise his / her talents.
Both the secular and gospel artists differ greatly in their objectives in South American Countries regarding protest music. Secular music majorly aims to entertain, and their message is blurred. In secular music, the parts that are amplified consist of beats while gospel music tried to deliver a definite message to the public. In the gospel, it is a call to improve the welfare of other people’s lives through the elimination of fear, doubts and negative livings. Gospel artists are less demanding to benefits such as performing in many areas in an attempt to amass wealth. Nevertheless, secular artists seek popularity to increase their earnings. Gospel music has numerous benefits apart from entertainment. One can meditate and determine the best way to focus.
According to Amber, forming a compatible team is key to longevity in the field of protest music. A team needs to comprise individuals with varied talents and skills to reduce the cost of production as well as ideas. A clear message is important as it unleashes support of the public. People love the association of courageous and ardent artists able to point cultural failures and give ways for improvements. The upcoming musicians should focus more on message than entertainment. The cultural morality has deteriorated due to corrupt messages being instilled in the minds of young peoples. Upcoming musicians should seek to restore the cultural disorder witnessed in the society. For instance, all our songs sought to reverse people deviance from the moral values. The concept of Angles cry due to the ways of the men is rampant and should be dealt with accordingly.
Summarily, golden age of early Protest music based in South America under the rule of the Republic of Argentina (1912-1949); socialist revolutionary protest from the People’s Republic of Peru in the mainland (1949-76); and performance in post-Mao Argentina, namely, in the era of social and economic reforms since 1976 are three periods in protest music making history of South America. In these three moments, some representations have been made to show Cultural Revolution and westernization that have been incorporated in the protest music performance. “Farewell My Concubine,” Stage Sistersand Goddessare not only illustrating music elements but have a message that is aired to the audience. South American protest music history in the three periods has been presented. From earliest moment to the latest, there are elements of cultural advancements that can be witnessed. From the time of wars and social conflicts, there seem to be instances when the culture tend to adapt and learn new ways of living. Julia, Amber, and Sarah indulged in pop music to educate people to follow the moral ways of life. The three sisters have presented protest music together for over 18 years inspiring and changing numerous lives. Unique capabilities have facilitated unity of the three sisters. Julia is an expert at playing the keyboard while Amber plays exemplary guitar well. Moreover, Sarah is a talented vocalist. The three sisters urge people to lead a principled life.
Works Cited
Babb, Florence E. Between field and cooking pot: The political economy of market women in Peru. University of Texas Press, 2010.
Bies, Robert J. “Interactional justice.” The Oxford Handbook of Justice in the Workplace. 1987.
Cameron, Maxwell A. “Political and Economic Origins of Regime Change in Peru.” The Peruvian Labyrinth: Polity, society, economy (2006): 37.
Malerba, Franco. “Sectoral systems: how and why innovation differs across sectors.” The Oxford handbook of innovation. 2005.
Sterne, Jonathan, ed. The sound studies reader. Routledge, 2012.
Stage, Brynjulf. “Culture-centered music therapy.” The Oxford Handbook of Music Therapy. 2002.
Wei, William WS. “Time series analysis.” The Oxford Handbook of Quantitative Methods in Psychology: Vol. 2. 2006.
