Analysis Of Cancion Protest Protest Songs Of Latin America

The genre bachata was developed in the Caribbean island of Dominican Republic. This genre was created based on boleros (slow-tempo Latin music), son cubanos, waltzes, Mexican music and merengue. Bachata is well known as love and depressing songs in which many people describe them self with this genre. At one point back in the earlier 1960s, bachata was considered vulgar and low-class. “Acceptance of the music has increased significantly in the last two decades, although some dominicans, both individuals living on the island and stateside, still do not accept the music because of the implication of its lower-class origins and associations with such themes as crime, poverty, drinking, and prostitution’’(Stavans 47). The genre Bachata has spread and grown so quickly for the past few years that is has become very famous in the United States, Europe, China, and South America. The genre bachata is well known to attract people with its lyrics, instruments, and dance since it identifies many people with real life events.

The evolution of the 1960s “protest song” has typically been associated with Joni Mitchell, but the expanding range of protest songs in the 1970s defines her continued presence as a leader in terms of environmental activism. More than just a vestige of the late 1960s, Mitchell continued to write protest songs long after many other artists from the 1960s had changed their lyrical content. In the “mellow turn” of early 1970s country rock and folk music, Mitchell represented a new environmental shift that moved away from the proto-typical antiwar songs of the 1960s. Mitchell, along with other musicians of this era, defined a shifting musical focus on songwriting and musical presentation during the early 1970as:

“ You got no fuckin’ idea what La Raza means…It’s about our people out there working…Surviving with pride and dignity, that’s La Raza” (Frost, “La Raza, Part II”). Many people in American society keep social activities and music in two entirely different categories. Nevertheless, such classification fails to recognize how social activities and music may enlighten each other. The correlation between the major ever-changing experiences of Chicana/os has shaped Chicano music in the United States. Which showcases that music can be a powerful instrument to communicating the voice of social activities. In the twenty-first century Chianca/os continues to battle with issues of oppression, power empowerment, resistance, violence, and identity crisis.

In a broader context, protest musicians composed songs about student protests in which they firmly sided with the protesters, supporting their actions and condemning those trying to stop the protests. (OnlyEverArabella, n.d.). The ideas were expressed in music as it served as a form of publicity and promotion for the counterculture community during this era. The government continuously tried to prevent media coverage about these movements but their music simply spoke the

Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New

This project’s purpose is to record a people who have lived through the promises and outcomes of the Bolivarian Revolution, an idea that captured Venezuela’s spirit and spread across 16 Latin America nations as the Pink Tide. The poor and working class will be a fundamental component of this story as I investigate the role the revolution has played in shaping the lives of this perpetually overlooked group of people. Simultaneously, the nature of these issues will create a portal into the world of Venezuelan heritage, traditions, and political and civic culture. What I write will be the reality of the situation; the interpretation will be left up to the reader.

Brittmarie Janson Perez, author of Political Facets of Salsa, writes, “Late at night, in a discotheque in a Latin American country whose political system is dominated by the military and is not particularly known for its respect for human rights, a crowd is dancing salsa, a generic term covering Caribbean dance music” (149). This has been and continues to be a very commonly accurate depiction of many Latin American countries. Since Cuba was founded in October 1492, its government and politics has been characterized by brutality, corruption and instability. Nonetheless, involvement from foreign nations and its deeply engrained Spanish roots has without a doubt had a significant impact on the transformation of what Cuba is today. In this paper, I will explore the pros and cons of the 1959 Cuban Revolution through the examination of the historical context of politics and how it impacted the social atmosphere.

Since the Constitution of the United States was written, Americans have practiced their right to freedom of speech as a way to express their point of view on issues facing the country. Over time, voicing one’s opinion went from outspoken newspaper articles to large rallies, and during the Vietnam War, music was a prevalent tool in aiding the protests. Allowing political messages to be shared nationally, the music had touched the lives of the younger generation. Author Jerome L. Rodnitzky explains in his journal, “The Sixties between the Microgrooves: Using Folk and Protest Music to Understand American History, 1963-1973”, how music was “trying to be all things

Hispanic’s music had a great impact in USA. Nowadays, Americans listen to Hispanics’ music. Hispanics’ music now is part of American’s culture. These changes in USA began around of 19th century, when Hispanics immigration increases in the USA. One of the big changes in music occurred around 1940s, when Americans began to recognize the efforts of Cuban-American musicians. One of the Cuban bands was Cugat. It was known better Orchestra ‘based in New York’s Waldorf Astoria’ which had a great visual and musical style. Another Cuban band was Machito who were dominated as one of the best New York’s scenes at that time. Thanks, to those bans Americans adopted some of Cubans’ dances and performances such as rumba, mambo and cumbia. Americans used and still using the Cuban instruments like bongos and maracas to create their rhythms. Later on, Americans created Jazz by African Americans with the influenced of Cuban’s music.

Music is an art form and source of power. Many forms of music reflect culture and society, as well as, containing political content and social message. Music as social change has been highlighted throughout the 20th century. In the 1960s the United States saw political and socially oriented folk music discussing the Vietnam War and other social issues. In Jamaica during the 1970s and 1980s reggae developed out of the Ghetto’s of Trench town and expressed the social unrest of the poor and the need to over-through the oppressors. The 1980’s brought the newest development in social and political music, the emergence of hip-hop and rap. This urban musical art form that was developed in New York City has now taken over the mainstream, but

Methods: This investigation will describe Che Guevara’s involvement in Latin American independence movements, focusing specifically on his involvement with Fidel Castro’s “26th of July” movement. His actions and words will be analyzed, and his conduct this period of political upheaval will be used as evidence in order to answer the investigative question.

The 1960’s was one of the most controversial decades in American history because of not only the Vietnam War, but there was an outbreak of protests involving civil and social conditions all across college campuses. These protests have been taken to the extent where people either have died or have been seriously injured. However, during the 1960’s, America saw a popular form of art known as protest music, which responded to the social turmoil of that era, from the civil rights movement to the war in Vietnam. A veritable pantheon of musicians, such as Woody Guthrie, Pete Seeger, Phil Ochs, Joan Baez, and Bob Dylan sang their songs to encourage union organizers to protest the inequities of their time, creating a diverse variety of popular

Throughout all the anti-war protests and marches during the Vietnam War, it is interesting to note the changes in the music of that time. From the beginning of the war, where support and loyalty from Americans was present in songs, to the end of the war, where anger and distrust was evident in musical lyrics, American’s opinion changed about the war. This change in opinion was easily recognized by the altering of musical lyrics about the war when Americans grew tired of the constant sending of U.S. troops to Vietnam. The growing dissatisfaction with the Vietnam War led to increasing levels of anger and hostility in the popular music of the time.

Watching Mikhail Kalatozov’s film I am Cuba (1967) is a moving cinematic experience. In the beginning, the film portrays a stereotypical Cuba through a carefree party on the rooftop and the contrasting scenes of the prostitute’s destitute village and the glamorous casino. The film depicts how Cuba moves from a repressed country to an epicenter of revolution through four vignettes in which each builds momentum to the next and an overall narrator that bridges the stories. The film narrates a movement starting with how the oppressive capitalists exploit Cuba and push the people over the edge. In the second half, the Cuban people move from passivity to actions, shown by a university protest and a villager joining the militia in a revolution to overthrow the corrupt regime. Among the vignettes, Enrique’s leadership in the university student protest stands out the most. Complemented by the shift in the camera’s perspective of space in relation to characters, it is a crucial turning point where the plot changes from the focus on a powerless individual to a vision depicting the power of collective action.

The theme of this concert was very relevant to the season. All the songs sounded wintery, and perfect for Christmas. While all the songs played into the general theme of the concert, the mood and style of each of the songs was different. The first song, Andante Festivo, was played by the stings and was a little slow paced but at the same time uplifting. The nest song, Divertimento, was fast paced and sounded happy. This song was also played by the strings. Reverie was played by the strings, and it was slow, but dramatic. The next song was a solo for the violin players. It was 3 different Rumanian folk dances. The songs were fast and kind of pop-ish. The instrumentals last song was Merry Christmas, Darling, which was slow and reflective. The first song that the choir and piano perform is Daybreak, the piano sounded fun and the vocals very high. The next song was