It is a time-worn cliché that music is an important constituent element of African culture closely associated and integrated with the daily living of the African—a cliché that would not merit repetition here were it not for the fact that this statement has rarely been applied to political activities in African societies. Ethnographers and ethnomusicologists have reported the music and the music making of various tribes in relation to religion, the “rites de passage,” agriculture, work, and social life, but the use of music as an agent of political expression has received scant attention.
In a pioneer study of African music von Hornbostel wrote: “In the life of so-called primitive man, and especially of the African Negroes, music and dance have quite different and incomparably greater significance than with us. … Music is neither reproduction (of a ‘piece of music’ as an existing object) nor production (of a new object), it is the life of a living spirit working within those who dance and sing” (Hornbostel 1928: 32). The spirit animating all Africans today is one of independence from colonialism, freedom, and nationalism. In a paper pregnant with ideas and suggestions for new approaches in the study of African music, William Bascom has written: “It is my belief that we would better understand change in political beliefs if we knew more about the way in which music, the dance, or any other forms of traditional behavior develop, and of how they are modified by the outside influences with which they are brought in contact.” (Bascom 1959: 7) It is the purpose of this paper to examine and assess the function and role of African music in contemporary political movements with special attention to the repertory of songs.
Adolescents' perspectives on traditional, non-traditional, and direct political activities: The role of identity-processing styles and political beliefs
