Tag: art as an institution

Music: A Cultural Expression of Identity

**This blog is a repost as we invite you to join us for a series of events with Violins of Hope Birmingham, April 11-14, 2018. The centerpiece of the project will be the Violins of Hope Concert at the Alys Stephens Center on April 14, 2018, featuring the Alabama Symphony Orchestra under the baton of Music Director, Carlos Izcaray. 

a picture of a unique violin
violin. Source: z s, Creative Commons

If identity were a sound, what would it sound like? For Jews, it sounds like the notes that rise from the striking of the bow across the tension of the strings on a violin. Elie Wiesel, in Night, writes of a brief encounter with Juliek, a dying violinist. This encounter, without full understanding of the context and the role of the violin in Jewish culture, may remain overlooked and misunderstood. It did for me until I began researching for this blog.

Violins, often heard in a piece of classical music, a genre that as Wang describes as “a special form of culture widely defined within an ideological and social sphere in people’s everyday life”, speak to the universal accessibility of music and the cultural complexity of creative expression within the social identity of Jewish people. “Always when people asked Isaac Stern why so many Jewish people are playing the violin, his answer was very simple: ‘It is the easiest instrument to pick it up and to run away!'” The embedding of music in Jewish tradition resulted from their persecution. Music provided a refuge and an outlet for emotional expression, whether pain or joy because music has the power to transcend.

A violinist is an essential figure within the sociocultural dynamic of Jewish high society. Gilman, highlighting the life of Albert Einstein, explains how the violin is “an emblem of the integration of the Jews into Western high culture… [and] links both personal and historical meanings.” Spotts insists that to the Nazis, “Theater, music, art, and literature were inherently ennobling, unless… practiced by the Jews.” Music for Einstein and other Jews allowed for the continuous expression and validation of individuality, in conjunction with and apart from religion. Conductor Franz Welser-Most maintains, “An instrument becomes part of the person which plays it. It’s the voice of that person comes through the instrument.” Violinists and their violins reinforced the humanity of all Jewish people, thereby undermining Nazi anti-Semitic ideology.

Albrecht considers art, including music, an institution. He identifies three characteristics of art: structure, function, and universality. The institution of art exists within the social structures of a society due to the ability of music to fulfill the human psychological need for creativity. While conceding that art is not a primary institution, one needed for the survival of society, he does suggest that it should no longer remain a secondary (or throwaway) institution either. Art should remain as important as religion, philosophy, and science. In other words, societies needs to recover the value of art by understanding its characteristics.

First, the structure of art is expressive and social, exposing what Parsons defines as “the paradigm of social interaction”. The paradigm of social interaction is the triad reciprocal relationship among the author, the critic, and the public based upon a supply and demand existence, or needs-based approach. For Parsons, human behavior consists of patterns of belief systems, which incorporate and appropriate objects, like violins, into the fabric of an individual or group experience based upon meaning. The repetition of the pattern creates a culture that, over time, produces a heritage. For Bortolotto, “Heritage is created …with authenticity understood as an important quality in the perpetuation of a sense of historical continuity and cultural ancestry.” Therefore, the social structure of art features this triadic interaction over a period and this historical interaction creates solidarity. Art is an essential link in the network of social and cultural relations.

Second, art satisfies curiosity, creates balance, and reduces stress. Spencer concludes that art permits “prolonged rest of the nerve-centers, which build up energy in excess of demands for immediate instrumental activities”, creating a satisfaction that comes from being a part of art through its creation or experience rather than simply participating in it. Weber equates art with ‘salvation’; not salvation as in eternal life but salvation that comes as a means of transcending one’s immediate situation or circumstance. Art allows for momentary escape; this quality contributes to the enrichment and augmentation of an individual and society.

Lastly, art is universal. Hoebel asserts, “Man could survive without art; yet man and art are inseparable.” Human beings are creative beings, yet the limitations of art classification detach the social and cultural significance of artwork or performance, whether it be resistance or propaganda. Take rap as an example. Martinez argues rap of the late 1980s and early 1990s utilizes lyrics and sounds as a form of expressing resistance to some cultural norms about music, and as propaganda when considering the urban decay of black communities, in direct contrast to white communities. In other words, regardless of classification, art, including music, possesses the power to influence, to give voice to the minority, and to symbolize resistance.

Amnon Weinstein is a violinmaker. More than 50 years ago, a customer brought him an old violin in need of restoration. Unplayed violins lose their sound and their spirit over time; therefore, a well-played instrument sounds richer and more open. Weinstein, over the course of the conversation, learned that the owner, a Holocaust survivor, “had played on the violin on the way to the gas chamber, but he survived because the Germans needed him for their death camp orchestra.” When the Nazis outlawed prayer, Jewish violinists played as a means of communion and defiance. “And just knowing that some of these people who have owned these instruments did not survive, but their personality is still within these instruments, I find that very moving”, acknowledges Welser-Most. The restoration of more than 30 Holocaust violins has become Weinstein’s method of harnessing the power of music to influence, returning voice to the minority, and to continually cultivating a resistance against the cruelty of the Holocaust and the silence that descended when the war concluded, by listening to the stories told by the violins.

This Sunday, September 17, 2pm at Temple Emanu-El, musicologist and author James A. Grymes will discuss his book, Violins of Hope: Instruments of Hope and Liberation in Mankind’s Darkest Hour, and the work of Amnon Weinstein. Event organizer Sallie Downs, when asked what inspired her to bring the Violins of Hope story to Birmingham, replied:

I am free to bring them; and they are free to come. All musicians, regardless of who they are and what they believe, are free to play the instruments when they want and where they want, and they are free to play whatever music they wish to play. Jewish musicians didn’t have that opportunity. They did nothing wrong. They were persecuted and too many people didn’t believe it could happen and they stood by until it was out of control. With all the hate and evil we are witnessing in this country, and the ignorance and resignation with which it is viewed, I can’t stand by quietly and do nothing. G-d help me, if I ever find myself on the wrong side of a barbed-wire fence, like those who were tortured and murdered during the Holocaust for no good reason, I will never regret that I did nothing when I had the opportunity to do something. The power of music on the Violins of Hope is a call to action. The Violins are giving voice to the voiceless and providing us an opportunity to help them say “Never again will good people stand idly by and watch innocent life be desecrated.  Never again will we allow the voices of the weak to be silenced.” Not here. Never again.

Violins of Hope is a bearer of intangible cultural heritage. By “establishing a relationship with the past by turning it into an authentic historical object”, Weinstein who restores the violins, and the musicians who play them, are “encouraging social practices that allow cultural objects and expressions to be produced and performed by community members”; thereby creating a living exhibition maintaining a focus on perpetuity.

Alternative Forms of Protest: From Beyoncé to NASA

“Freedom, cut me loose! / Freedom! Freedom! Where are you? / ‘cause I need freedom too! / I break chains all by myself, / won’t let my freedom rot in hell.” – Beyoncé Knowles-Carter, Freedom

A black woman with a slight smile holds a sign that says, "Unite here!"
“15/365 Black Lives Matter.” Source: Dorret. Creative Commons.

Protest is the struggle for recognition of an injustice (see Protests: Movements Towards Civil Rights). The right to rebel against injustice is ingrained within most of the legal frameworks that our society operates under. It is not only expected, but encouraged. The preamble to the Universal Declaration of Human Rights (UDHR) says, “…it is essential, if man is not to be compelled to have recourse, as a last resort, to rebellion against tyranny and oppression, that human rights should be protected by rule of law.” Put simply, the UDHR states it is essential to protest when human rights are being denied. Marches, rallies, and demonstrations are common forms of protest, but alternative protest methods can be just as effective as mass public action. One may not consider music, art, film, or science to be mediums for political dissent, but these methods are often surprisingly efficient, especially in the context of a tyrannical government.

“This Wall Is Not For Sale.” Source: John Orlando. Creative Commons.

Concept Art

Protesters often face government suppression and violence when they attempt to voice any opinions in opposition to the state. Examples throughout history have given us classic acts of protests such as Martin Luther King’s March on Washington and the Arab Spring uprising. However, more subtle acts of protest are necessary within repressive regimes that quickly and easily censor dissidents. Ai Weiwei, China’s most famous political dissident, voices his opinions in an unorthodox manner – art. He famously painted a Coca-Cola logo on a 2000-year-old Han Dynasty urn and later shattered another one in a photo series.  The urns were valuable in themselves, being thousands of dollars apiece, but the value lay mostly in the cultural heritage of the objects – the Han dynasty represents the golden era of the Chinese history that many yearn to return to. In response to outrage over the broken urns, Ai says, “General Mao used to tell us that we can only build a new world if we destroy the old one.” We, as American citizens, are used to dramatic public acts of protest, and may find his method to be overly passive and without impact. However, Ai Weiwei has been targeted, beaten, and arrested multiple times in the name of “inciting subversion of state power” (Richburg).

Cultural context is key when understanding the most effective method and medium of protest. An American artist gave a more recent and flagrant example when the artist Christo abandoned a $15 million dollar effort to create an enormous public art display in Colorado. The project, titled Over the River, was an effort to “suspend 1,000 silvery fabric panels” over several miles of the Arkansas River. Over the River was to intrigue and generate dialogue about art; the project had jumped through hurdle after legal hurdle with environmentalist groups and was in its final stages of approval. Planned over a twenty-year period and personally funded by the artist, the effort ceased after the election because the work was set on government-owned land. Christo said, “I use my own money and my own work and my own plans because I like to be free. And here now, the federal government is our landlord. They own the land. I can’t do a project that benefits this landlord” (Capps).

White wall with black and white graffiti of a man holding a microphone with fist in the air. Text at the bottom of the graffiti says, "This is a working class protest..."
“Street Art and Graffiti at Dalymont [ this is a working class protest ] -124720.” William Murphy, Creative Commons.
 Street Art

Some of the most deeply moving work to dissent against oppression is done by low-income, underprivileged minority groups. Art is defined within a social context, which is why some forms of art have been glorified as ‘true art’ while others have been demoted. Classical art painted by wealthy artists like Michelangelo are worth millions of dollars and featured in prestigious galleries while art forms that have historically belonged to women like sewing, crafting, and embroidery are demeaned. Up until the Harlem Renaissance, the art world treated black art similarly. Romare Bearden once said, “A concrete example of the accepted attitude towards the Negro artist recently occurred in California where an exhibition coupled the work of Negro artists with that of the blind.” Though Bearden published this essay in 1934, the attitudes towards black art are still not up to par. Society tends to think that the art that makes it into MoMA or the Louvre is end-all-be-all of artistic culture, but work done by professionally trained artists is not any more relevant or significant than work by self-trained artists whose canvas is the streets – the only difference is notoriety. Young black street artists often cannot gain that notoriety because the legacy of oppression has pushed black populations into urban areas and deprived them of resources, rights, and economic mobility. Street art is one way groups choose to protest the political occurrences that have suppressed their ability to thrive.

Graffiti as an artistic medium provides young urban dwellers the means to protest their situation through action against the state. One may ask, is graffiti art or vandalism? The short answer is yes. It is art; it is vandalism. Art is relative. The end goal of most art is to evoke a sentiment that influences others emotionally or philosophically. If we look at it this way, graffiti is a more powerful artistic statement than traditional artworks such as Monet’s Water Lilies. The perpetuation of vandalism occurs when artists view their world as divided into cheap real estate for gentrification. Other forces such as war, offensive political rhetoric, and police violence increase the drive to create graffiti. Graffiti artists express their cultural frustration in ways that their peers deem appropriate; often, young black men are denied the ability to express their sadness and fear without being subject to disdain (Aubrey). In a chaotic world often terrorized by police brutality, lack of economic or social mobility, and systematic discrimination, graffiti offers a creative outlet for frustration and allows artists with limited resources to make their voices heard.

“El pueblo unido jamás será vencido” (the united people will never be defeated). Source: 16:9clue. Creative Commons.

Poetry and Music

Poetry and spoken word have also become powerful tools used by many communities with shared cultural trauma. Black women, often dehumanized, commodified and oversexualized by society, have found a powerful outlet in poetry.  Poetry gives a path for different communities to express their anger and have it heard in a significant and impactful way. Artistic traditions of expressing hope, fear, and protest are deeply rooted in oppressed communities. This most notably has occurred within the black community, where poetry, song and dance have been tools of cultural unity and generate hope against oppression.

Modern music has adapted to the climate of political tension and has slowly begun incorporating anthems of justice and power. Rap and hip-hop have been particularly strong conductors of this trend. “Rap has developed as a form of resistance to the subjugation of working-class African-Americans in urban centers… rap has the powerful potential to address social, economic, and political issues and act as a unifying voice for its audience” (Blanchard). Beyoncé’s Lemonade centered on themes of justice for the black community after deaths from police brutality. The visuals accompanying Freedom, a track from Lemonade, show the mothers of Trayvon Martin, Michael Brown, and Eric Garner holding photos of their late sons. Hip-hop as a genre has long been a medium for shared feeling within the black community, but artists of all genres have recently been taking stronger and more public stances on political matters.

Celebrities have even taken part in public protests such as when Madonna opened for the Women’s March on Washington in the beginning of the year. Lady Gaga protested after the election by standing outside Trump Tower with “love trumps hate” signs. Green Day protested at the 2016 American Music awards by prefacing their performance with a chant of, “No Trump! No KKK! No fascist USA!” Public figures have adapted to the divisive nature of the times with the incorporation of political statements in their work.

“Don’t Mess with a Chemist.” Source: Scattered1. Creative Commons.

Science

The scientific world may seem limited to hard data, crunching numbers and running tests, but the recent change in administration has caused a shift in how scientists relate to politics. A man who who once called global warming a hoax perpetrated by the Chinese presently leads the United States. Enraged by the blatant dismissal of the scientific consensus that the world is in fact warming, many employees of scientific government agencies have resigned or otherwise protested. The emergence of social media accounts for “rogue” national departments has been a startling revelation. There are currently over a dozen rogue accounts, including @RogueNASA, @AltNatParkSer, and @ActualEPAFacts. These accounts run by actual employees of these agencies who feel that their ability to report accurate information has been censored – a violation of their human rights. Outrage over Trump’s statements on science has even led to a new world record by Autonomous Space Agency Network who achieved the first protest in space in April. They launched a weather balloon with a message attached: a tweet that reads, “Look at that, you son of a *****.” The tweet references a quote by former astronaut Edgar Mitchell, who once said, “You want to grab a politician by the scruff of the neck and drag him a quarter of a million miles out [to space] and say, ‘Look at that, you son of a *****.”

From this, it is easy to see how protest has evolved into a multilateral effort spanning across different segments of society. Music, art and science have all become fertile grounds for innovations in protest. Protest is not always an organized public action. It is often a cultural compilation of attitudes and actions that has formed in rebellion to a societal injustice. Protesting is not always loud, dramatic or direct; cultural and legal differences make some forms of dissent far too dangerous to commit under certain regimes. We cannot always judge others based on their perceived inaction in the face of injustice – protest is a unified effort, executed in a variety of forms, including methods less obvious than others.

Extending or removing support from artists who create political content can be an effective an act of protest for or against their stance.  Engaging in scientific debate and spreading awareness of censored issues can effect meaningful change. Taking a moment to admire the work of a graffiti artist can be an act of rebellion. If protests were limited to marching down the street holding picket signs, the world would be at an impasse for change. We must take pride in the forms of protest that are most accessible and most meaningful for us to rebel against injustice and create a better world.