COLUMNS
By Darcy Ataman
COLUMNS
Music Remains a Catalyst for Revolution
Content warning : references to rape , sexual violence .
When Gil Scott-Heron famously wrote and sang “ The Revolution Will Not Be Televised ” in 1970 , spurred from an often-used phrase in the Black Power movements of the 1960s , it was both a clarion call and poignant reminder to stay focused on social justice efforts regardless of the fickle ebb and flow of popular culture and media . It was also a flag planted on a distant hill , serving as a north star to remind the righteous of how far the movement still needed to go .
Regardless of provenance , music has continued to be used as a global instigator and accelerator for revolution , protest , activism , and social justice movements . Music and the right song can serve to invert the notion of power , inspiring and propelling the historically havenots into sustainable and equitable change .
I recently interviewed three prominent activists , who in representation of their distinct movements and revolutions , continue to use music and specific songs within their respective countries ’ desire for change :
Nompilo is an activist in South Africa where recent protests have been met with bloodshed and food shortages . When recently-ousted president Jacob Zuma was arrested on corruption charges , some of his loyalists took to the streets in support , which provided a catalyst for other forces . This , along with South Africa surpassing day 500 of lockdown due to the pandemic , has exposed the frustration , as well as political and emotional issues , which the disenfranchised in that region have faced . Within all of this , Nompilo said that music is still being used to unify the protestors into a cohesive collective and mobilize them into a movement that continues to fight despite the challenges . To her , the right song serves as a way to centre the spirit and encourage oneself to remember how far they have come while being mindful of how far they still need to go .
This beautiful notion of music , pushing from the past and pulling into an idealized future , can be exemplified by Mbongeni Ngema ’ s stunning vocal performance on “ Safa Saphela Isizwe ,” which represents the sound of freedom .
Abbas ( named changed for his protection ) is a Syrian musician who fled his home when the revolution erupted after decades of pressure brought on by the current regime ’ s control over media , arts , the economy , and their very lives . Paraphrasing his words , Abbas determined that if he had stayed , his choice of “ kill or be killed ” was simply an anathema to his ideals and hopes for the majority of people living in their homeland . Even though the current proxy conflict within the country has continued to further complicate life within Syria as various countries jockey for position , for or against the current regime for goods and resources , music has historically and now continually plays a vital part in the endurance and continuation of the revolution .
To demonstrate its power , one local artist , Abdel-Basset al-Sarout , was sadly killed when his song became too much of an anthem for the local population fighting for a more just and
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Fulvis is a defiant activist hailing from Columbia , where she is part of the Global SEMA Network and Tamboreras del Cauca , which globally and locally fights the scourge of violence against women . Fulvis , among others in her group , are attempting to correct the power imbalance , which excludes women politically in practice and provides a framework of impunity to the mismanagement of public funds and the effective participation of young women in living their rights . Pointedly , since the latest uprising began on April 28 th , more than 70 human rights activists have been killed in her vicinity .
Despite the risk and stigma that Fulvis endures daily in Columbia , she speaks of the power of music with a capacity that is both joyful and breathtaking . To her ,“ music is life ” that can denote the realities of her country ’ s current situation or “ change hatred into joy .” A fantastic example of the music she speaks about that helps to alchemize the weight of stigma to the lightness of bliss and healing can be heard in the video “ Tamboreras del Cauca ” on the Corporación Opción Legal YouTube channel .
As I ponder these recent encounters and conversations , I am cautioned by a memory from the NGO I founded , Make Music Matter . In the Democratic Republic of Congo where rape is used a weapon of war , graduates from our Healing in Harmony music therapy program and sexual violence survivors wrote a song called “ The Criminal Father ,” which calls out all the men in the community who either conduct the atrocity of rape or allow it to continue . When this particular song became a minor hit on local radio , the military would call into the stations to complain and ask for the song to be removed from the playlist as they were “ the good guys ” and were “ no longer committing the rapes .” Wistfully this was a lie but it was a fascinating notion where someone with the guns was afraid of someone with the songs .
With music , the revolution may not be televised but it will continue to be inspired , charged , and sustained by the songs that ultimately bind us all .
Darcy Ataman , M . S . C ., is the founder and CEO of Make Music Matter Canada and Make Music Matter USA . MMM uses music therapy and the creative process , plus an emphasis on local leadership , to empower marginalized individuals and communities . Darcy is also a music producer and the co-founder of A4A Records & Publishing alongside producer David Bottrill .
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