Marching for Social Justice

War, political and social inequality, poverty, and other obstacles to economic and development prospects have all sparked protests calling for social justice as an alternative to the status quo.  Although social justice is frequently associated with politics, many justice movements have employed music to encourage and encourage widespread participation in their cause.1 One form of music that has been involved in many protests is the ‘marching band’. The history of marching bands may be traced to the Middle Ages, when musicians were used by feudal armies to inspire and motivate their troops. Although the bulk of countries still use marching bands in their military facilities, America has started using them in classrooms. In the majority of high schools and colleges across the country, music ensembles are now an obligatory subject. Even though marching bands were predominantly white, that did not stop people of color from making use of this brilliant genre.2 We can hear recordings of marching bands dating all the way back to 1923, as seen in the recording done by ‘Victor’ recording label and ‘Sousa’s Band’.3

In the picture above4, we can see the March 3, 1913, National American Woman Suffrage Association parade in Washington, D.C. The parade’s organizers deliberately timed the procession to take place the day before President-elect Woodrow Wilson’s inauguration, which further boosted interest in the occasion. This tactic was effective. The women marched from the U.S. Capitol toward the Treasury Building, where they were met by thousands of spectators, many of whom were in town for the inauguration.5 The all-women marching band, added to the huge spectacle of this parade, is credited in having an active role in the passing of the Nineteenth Amendment, signed 7 years later. Protests, like the National American Woman Suffrage Association parade, highlight the importance of music as a medium for social justice.

Although we see marching bands used as a medium for protest all the way back in the early 20th century, we can see bands making their way to protests still today. At the Honk! festival of activist street bands, which began on Thursday and ran for five days, it was difficult to determine where politics ended and the party started. Honk! Fest takes place in Somerville, Massachusetts, around the weekend of Indigenous Peoples’ Day. The Rude Mechanical Orchestra, whose ‘fists-up anthems’ encouraged the spontaneous dance party on Saturday, was directed by sousaphone player Matt Arnold, 39. “It’s kind of a band jamboree, something we all look forward to,” Arnold said. Eight years ago, this marching band came together to express its disapproval of the Republican National Convention in New York. Since then, it has performed at each Honk! festival, taking a break from a busy itinerary that includes picket lines, antiwar demonstrations, and, as of last year, Occupy Wall Street rallies6.

 

1 “Music and Social Justice | Internet Encyclopedia of Philosophy.” n.d. https://iep.utm.edu/music-sj/.

2 Hall, Sophia Alexandra. 2021. “How the Marching Band Became a Staple of American Music Education.” Classic FM, November. https://www.classicfm.com/discover-music/music-education/marching-band-american-schools/.

3 “High School Cadets March.” n.d. The Library of Congress. https://www.loc.gov/item/jukebox-117939/?

4 “Woman Band – Suffrage Parade.” n.d. The Library of Congress. https://www.loc.gov/item/2014691491/.

5 “This Day in History: The 1913 Women’s Suffrage Parade.” 2016. Whitehouse.Gov. March 3, 2016. https://obamawhitehouse.archives.gov/blog/2016/03/03/this-day-history-1913-womens-suffrage-parade.

6 Wikipedia contributors. 2023. “HONK!” Wikipedia, August. https://en.wikipedia.org/wiki/HONK!

Pete Seeger and Social Change

Pete Seeger performing on stage with a banjo in Yorktown, NY.1

Pete Seeger was an American singer, songwriter, folk song collector, and social activist. After his death in 2014, most people today credit Pete Seeger as “one of the most important American musical voices of the 20th century.”2 This reputation that Seeger maintains was not always the case. At one point during his 70 year career, Seeger was a member of the communist party in the United States and was convicted for contempt of Congress after defying the House Un-American Activities Committee in the 1950s.3 He managed to completely revise his reputation during his career and he “lends support to the argument that reputations are radically malleable, even when the figure has not changed dramatically.”

At the beginning of his career in the 1940s, Seeger would often perform at leftist rallies and became well known amongst communist groups. After Seeger began to have accusations of his leftist beliefs, those who were against him had a great effect on his reputation because those who defended Seeger also became the target of attacks. By 1953, Seeger’s record label had dropped him and, his current negative reputation “caused Seeger to be banned from many mainstream venues either because there were outspoken anti-Communists to oppose him or because venues wished to avoid potential controversy.”4

Seeger’s reputation began to change in the 1960s with the resurgence of folk music and emerging social movements. Eventually, the movements Seeger participated in began to gain social favor. While Seeger was shunned from many mainstream performance venues, he performed at colleges instead for a “younger generation that was ready to adopt figures who would challenge the status quo.”5 His music reflected many social concerns of the younger generation and he sang about “the labor movement in the 1940s and 1950s, for civil rights marches and anti-Vietnam War rallies in the 1960s, and for environmental and antiwar causes in the 1970s and beyond.”6 One of his most notable songs is “We Shall Overcome,” which was adapted from old spirituals and became a civil rights anthem.

During the time he was actively releasing music and fighting for these causes which he believed in, he was still ignored and not taken seriously by many in the older generations because they were not taking him seriously. They believed he was “free to sing whatever he likes because this saintly old man can hardly be ‘seriously’ proposing rebellion.”7 They were wrong. This disagreement still happens very frequently in today’s society as well, both in music and other social platforms. There are many in today’s present society that overlook the voices of younger generations and assume no harm can be done or change cannot be made. Many cultures of people are constantly underestimated by those with white superiority who believe they are untouchable until it’s too late to realize they are not.

Bibliography

Bromberg, Minna, and Gary Alan Fine. “Resurrecting the Red: Pete Seeger and the Purification of Difficult Reputations.” Social Forces 80, no. 4 (2002): 1135–55. http://www.jstor.org/stable/3086503.

Kavallines, James. [Pete Seeger, full-length portrait, performing on stage at Yorktown Heights High School, Yorktown, N.Y.] / World Journal Tribune photo by James Kavallines. Photograph. Washington, D. C. , February 2, 1967. Library of Congress.

Pareles, Jon. “Pete Seeger, Champion of Folk Music and Social Change, Dies at 94.” The New York Times, January 28, 2014. https://www.nytimes.com/2014/01/29/arts/music/pete-seeger-songwriter-and-champion-of-folk-music-dies-at-94.html.

Robb, Alice. “The History of Pete Seeger’s Reputation Is the History of the Past 70 Years.” The New Republic, September 26, 2023. https://newrepublic.com/article/116379/pete-seegers-reputation-shows-history-past-70-years.

1James Kavallines, [Pete Seeger, Full-Length Portrait, Performing on Stage at Yorktown Heights High School, Yorktown, N.Y.] / World Journal Tribune Photo by James Kavallines., photograph (Washington, D. C. , February 2, 1967), Library of Congress.

2Alice Robb, “The History of Pete Seeger’s Reputation Is the History of the Past 70 Years,” The New Republic, September 26, 2023, https://newrepublic.com/article/116379/pete-seegers-reputation-shows-history-past-70-years.

3Jon Pareles, “Pete Seeger, Champion of Folk Music and Social Change, Dies at 94,” The New York Times, January 28, 2014, https://www.nytimes.com/2014/01/29/arts/music/pete-seeger-songwriter-and-champion-of-folk-music-dies-at-94.html.

4 Minna Bromberg, and Gary Alan Fine. “Resurrecting the Red: Pete Seeger and the Purification of Difficult Reputations.” Social Forces 80, no. 4 (2002): 1135–55. http://www.jstor.org/stable/3086503.

5Minna Bromberg, and Gary Alan Fine. “Resurrecting the Red: Pete Seeger and the Purification of Difficult Reputations.” Social Forces 80, no. 4 (2002): 1135–55. http://www.jstor.org/stable/3086503.

6Jon Pareles, “Pete Seeger, Champion of Folk Music and Social Change, Dies at 94,” The New York Times, January 28, 2014, https://www.nytimes.com/2014/01/29/arts/music/pete-seeger-songwriter-and-champion-of-folk-music-dies-at-94.html.

7Minna Bromberg, and Gary Alan Fine. “Resurrecting the Red: Pete Seeger and the Purification of Difficult Reputations.” Social Forces 80, no. 4 (2002): 1135–55. http://www.jstor.org/stable/3086503.

Joan Baez and the Rise of the Folk Protest

Joan Baez with her guitar

Joan Baez with her guitar

The 1960s were a decade of political development and social unrest. American folk music became a method of conveying political ideas and protest, and the singer-songwriter fell into the important role as the purveyor and curator of civil disobedience. This style of folk music was adopted by college students who saw it as a meaningful vehicle for bringing about positive, humane change to the world. “Like Zen Buddhism and organic foods, folk music swept the colleges as a hip fad. Indeed, since the 1930s folk music had a close connection to the radical left in America (especially communists and socialists), and had increasingly been taken seriously by folklore scholars as a guide to past social mores.”

The prevalence of protest folk did not exist without criticism. Folk purists believed that protest songs were “pretentious, portentous and ponderous” and that folk-protest writers were “political hacks who wouldn’t recognize either folk music or folk style if it were walking along beside them in a peace march.”

Joan Baez was a folk singer-songwriter who made a name for herself in the 1960s (and then on) performing folk ballads. As the social and political climate heated up in the United States and around the world, Baez became a civil rights and universal nonviolence activist. “As the child of a decade of agitation, her attitudes and life-style evolved so smoothly that she seemed not to have changed at all. Joan blended into the protest tradition, into pacifism, into activism, into a publicized marriage and motherhood, into a vicarious martyrdom, . . . and finally into a national symbol for nonviolence.”1 She had a very appealing voice, which served her well in attracting audiences to her music.

Joan Baez wrote many songs of political and social protest, utilizing her distinct voice that became associated with the folk singer-songwriter genre. Saigon Bride is one of the songs she wrote, which appears on her 1967 album Joan. The following are the lyrics to Saigon Bride:

Farewell my wistful Saigon bride
I’m going out to stem the tide
A tide that never saw the seas
It flows through jungles, round the trees
Some say it’s yellow, some say red
It will not matter when we’re dead

How many dead men will it take
To build a dike that will not break?
How many children must we kill
Before we make the waves stand still?

Though miracles come high today
We have the wherewithal to pay
It takes them off the streets you know
To places they would never go alone
It gives them useful trades
The lucky boys are even paid

Men die to build their Pharoah’s tombs
And still and still the teeming wombs
How many men to conquer Mars
How many dead to reach the stars?

Farewell my wistful Saigon bride
I’m going out to stem the tide
A tide that never saw the seas
It flows through jungles, round the trees
Some say it’s yellow, some say red
It will not matter when we’re dead

Starting out on a local scale in California, Baez ended up playing at the Newport Folk Festival in 1960 and then signing onto Vanguard Records for the next 12 years. Baez played many shows internationally and during the Vietnam War, she began playing internationally, including a show in Tokyo, Japan in January 1967. At this show, the translator later admitted that he left out all of Baez’s political comments after being instructed to do so by a man who identified himself as a CIA agent.

Instead of interpreting her subtle antiwar sentiments in Saigon Bride, the interpreter told the audience that it was a song about the Vietnam War. It is interesting to see how time and again, governments have feared the strength of a song or piece of art. Instead of listening to something and learning about its meaning and background, we are told to move past that and consume something topically or refrain from interpreting and consuming it altogether.

Joan Baez is one of the first recognized folk protest singer-songwriters and someone who has really affected the style of political song today. With singer-songwriters pioneering the political song, it has moved through rock, country, to rap and hip hop. Political protest today takes its form in many ways and the efficacy of that art is dependent on the audience it reaches out to.

1. Rodnitzky, Jerome L. Minstrels of the dawn : the folk-protest singer as a cultural hero. Chicago: Nelson-Hall, 1976. x-87. Print.

2. Baez, Joan. Saigon Bride. Joan, CD, 1967.