The Dilemma of Music: Dividing Masses and Forging Unity
Neeti Baheriya
TYBA, 2022-2023
Why is it that South Korea blares K-Pop on giant speakers, among other things across the border to North Korea? Why is it that violence is used to ban certain types of music? Is it true that songs can be used to start a war? Would you be more patient in a waiting room which has soft music or a room with no music? All these examples have one thing in common: Music. Music has a very profound presence in our lives. It is frequently referred to as a "universal language" and is praised for having the power to unite people. However, on the flip side of the coin, music can also play an immense role when it comes to dividing people. In this article, I will be looking at the role music plays in creating conflict across two areas: stereotyping and war.
Music and Stereotypes
Music builds one’s identity. We all, at one point, must have felt a connection between the music we listen to and the person we are. A lot of beliefs that we have, any ideologies that we come up with, or anything that we are passionate about, might all be linked to the music that we listen to. Our body responds to the emotions conveyed by the music. That’s why, in order to prevent people from behaving in a way that would be hostile to the state, many totalitarian nations have been interested in regulating the production of music. Just as music shapes the identity of one person, it is responsible for shaping the identity of a whole group, and reflecting it to the outgroup. ‘Ingroup’ refers to the social group with which a person identifies to be a member of, and outgroup, by contrast, is the group with which the individual does not identify with. So, music signals a particular social identity to another person. For instance, have you noticed that before every cricket match the anthems of both the teams are played? National anthems are designed to signal a group’s identity. They provoke strong emotional reactions rooted in patriotism. People chant along with it to establish their identity to the outgroup and to feel proud of their team.
So now that we know the immense importance of music in identity formation and the perception of other’s identity, what is it about music that incites intergroup conflict and how do we get out of it? As music forms identities, we start associating certain forms of music with certain types of people. If we learn that a person loves heavy metal music, we immediately think of a guy with long hair who wears all black clothes, lives in their parent’s basement and beats on drums all the time. We cannot imagine such a person enjoying folk music. Similarly, hip-hop followers can be judged as being misogynistic. If we think of rap music as only being shallow and profane, we will refrain from exploring the whole genre and will not be exposed to the unique messages that rap artists deliver. These preconceptions prohibit some musicians from sharing their experiences and define them and their music based on outside forces. Similarly, in a study, women were attracted to men who liked metal music since heavy metal is associated with strength and dominance, which may be traits some women look for in their male partners. On the other hand, men preferred women who enjoyed soft rock or classical music which are more in line with the softer, less abrasive qualities that an archetypal man could be looking for in a woman. Stereotypical material in music and music-related media affects how people view individuals from other groups and how they are treated, which can lead to violence and conflict.
So, what can we do to reduce these stereotypes and the preconceived notions we might have for different musical genres? First, it is important to be open to listening to a wide variety of music in a particular genre regardless of what your opinion might be. Instead of ridiculing the nerdy guy for liking metal music, try to understand why the genre appeals to him. But on a technical note, there are various ways to create a positive outlook towards the outgroups. Simply work with them! Working together to create, for example, a music video with a person from a different group increases interest in that individual’s culture and, as a result, lessens prejudice. Music is frequently a good feature of groups that are negatively perceived; for example, Black artists' music continues to be popular in the US despite racial animosity. Another way is to observe ingroup and outgroup musicians working together on music. People who witness artists performing music together in a highly emotional situation may assume an emotional connection between the musicians and, subsequently, between their respective groups, especially if the song has undertones of love. Music collaboration has been associated with the development of greater empathy.
Music and War
Music can start a war, stop a war, and commemorate a war. It can be used as a torture device and as a healing ailment. It can terrify people and give them hope. Music can be used as propaganda and it can be used to spread peace. Let us have a look at some of the facets of music in war.
Wartime music involves overly patriotic and militaristic songs. Since the beginning of time, music has been used to encourage soldiers to march into battle. The Greeks were aware of the value of using music in battle. A few flutes could keep the troops moving in unison, inspire them to fight bravely, and announce the attack. To this end, the Roman troops deployed trumpets. Minstrels were expected to blow and beat loudly and continuously throughout the action in the Middle Ages. The poem ‘Vande Mataram’, penned by Bankim Chandra Chatterjee and sung by Rabindranath Tagore at the 1896 session of the Indian National Congress, became a very popular marching song, so much so that the colonial government banned it. But, guess what? People defied the ban and sang it anyway. They were repeatedly put in prison for it. What was so important about singing a song for which going to prison was worth for, is something to think about.
We all like to listen to music, right? Now imagine that one song you always skip in your playlist playing in your ears at full volume ALL THE TIME. And just when it stops and you think you might not stay sane anymore, there it is again, at unexpected times, blaring out loud. Oh, and also, you are in a prison. In an enemy state. This had become standard practice by the US military in Iraq. Loud music was utilized as an interrogation technique at detention facilities with the goal of harassing and disorienting detainees, breaking their resistance to interrogation, and eliciting confessions. The US troops would loop particular songs at outrageously loud volumes while laying siege to various Iraqi and Afghani encampments. Up until the point of capitulation for those under siege, the songs would play continuously from enormous speakers.
Music can also be used as a form of resistance. Communities that are physically unable to participate in armed combat, such as those living in exile, frequently play the music and practice related cultural practices that have been outlawed or suppressed in their home countries as a show of defiance. Some people openly utilize music as a tool of dissent. While slaves in the Americas frequently beat drums to convey signals about intentions for insurrection or escape, some of them also used music as a combat strategy. Capoeira, a music-dance style that developed from African ritual dances into a martial art is one example of how slaves in Brazil battled Portuguese colonial soldiers. While on one hand, music was used to force people into submission, on the other, it was a way to give people hope to get through the traumas of war. Youngsters from the former Yugoslavia performed the song “Just Let There Be No War” by Djordje Balasevic. The lyrics of the song read out in the following fashion:
And I tell you:
Let the seas sink down,
let the glaciers break asunder,
let eternal snows melt down
and still
let the rain fall unstopped,
let there be lightning and thunders storms,
just let there be no war.
And I tell you:
Let time go backwards,
let stars go wild in the sky,
let mountains be displaced
and still
let winds blow the world away,
let volcanoes awaken,
Just let there be no war.
If these words, written on a piece of
paper without any tune, have an effect on me and you right now,
imagine the impact of these same words in the form of a song sung to people who
are filled with fear and anticipation in the midst of a war. Music gives
people not only hope, but also solace.
It is true that music has the immense power to form stereotypes and overcome one’s enemies, both of which can become violent in nature. However, one can disprove a misconception by immersing oneself in that society's culture. It is imperative that we question our presumptions if we want to improve as a group, and as individuals. In that regard, I believe that music has the potential to help us become more tolerant and culturally relativistic. War challenges our expectations of everyday life, and while music can be used as a weapon, it can also humble our arrogance. The possibility of surviving conflict can be brought into sharper perspective through music. As a result, music must serve as a reminder of the possibility of a peaceful future. The usage of music in various contexts, and not the music itself, ultimately decides whether it is peaceful or not. Even though it may have a belligerent tone, music that seeks justice and does so by nonviolent methods can be peaceful. Provided the dual and rather contrasting roles that music can play, the power to decide how to use music: to accentuate our own goals, or to reconcile communities, rests with us.
References
Harwood, J. (2017). Music and intergroup relations: Exacerbating conflict and building harmony through music. Review of Communication Research, 5, 1-34. DOI: http://dx.doi.org/10.12840/issn.2255-4165.2017.05.01.012
Robertson, C. (2013). Singing to be normal: Tracing the behavioural influence of music in conflict transformation.
https://core.ac.uk/download/pdf/20251088.pdf
Mora, A. (2019). The SAGE International Encyclopedia of Music and Culture. DOI: : http://dx.doi.org/10.4135/9781483317731.n782
Đorđe Balašević - Samo da Rata ne bude lyrics + english translation. Đorđe Balašević - Samo da rata ne bude lyrics + English translation. (n.d.). Retrieved September 19, 2022, from https://lyricstranslate.com/en/samo-da-rata-ne-bude-just-let-there-be-no-war.html
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