{"title":"谁的音乐,谁的国家?北非的音乐、动员和社会变革","authors":"C. Robertson","doi":"10.2979/AFRICONFPEACREVI.5.1.66","DOIUrl":null,"url":null,"abstract":"Social change began to rapidly emerge in many North African states in 2011 and 2012, and this process continues today. Music has been embedded within this process from the beginning and has been a key feature in street protests and expressing group identity that opposed the status quo at the time. The situation has since become extremely complex as group identities have split and merged, but in the early days of social change in Egypt, Tunisia, and Libya, music was used by professional and amateur musicians as well as non- musicians for several purposes, namely, to express a more generalized group identity, to capture the moment of the protests, and to propagate information about the situation to a wider Arab diaspora and gain support from them. Conversely, the state also used music at this time as a form of social control by promoting music that was uncritical to marginalize the challenging music.","PeriodicalId":7615,"journal":{"name":"African Conflict & Peacebuilding Review","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2015-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"5","resultStr":"{\"title\":\"Whose Music, Whose Country?: Music, Mobilization, and Social Change in North Africa\",\"authors\":\"C. Robertson\",\"doi\":\"10.2979/AFRICONFPEACREVI.5.1.66\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Social change began to rapidly emerge in many North African states in 2011 and 2012, and this process continues today. Music has been embedded within this process from the beginning and has been a key feature in street protests and expressing group identity that opposed the status quo at the time. The situation has since become extremely complex as group identities have split and merged, but in the early days of social change in Egypt, Tunisia, and Libya, music was used by professional and amateur musicians as well as non- musicians for several purposes, namely, to express a more generalized group identity, to capture the moment of the protests, and to propagate information about the situation to a wider Arab diaspora and gain support from them. Conversely, the state also used music at this time as a form of social control by promoting music that was uncritical to marginalize the challenging music.\",\"PeriodicalId\":7615,\"journal\":{\"name\":\"African Conflict & Peacebuilding Review\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2015-05-20\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"5\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"African Conflict & Peacebuilding Review\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2979/AFRICONFPEACREVI.5.1.66\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"African Conflict & Peacebuilding Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2979/AFRICONFPEACREVI.5.1.66","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Whose Music, Whose Country?: Music, Mobilization, and Social Change in North Africa
Social change began to rapidly emerge in many North African states in 2011 and 2012, and this process continues today. Music has been embedded within this process from the beginning and has been a key feature in street protests and expressing group identity that opposed the status quo at the time. The situation has since become extremely complex as group identities have split and merged, but in the early days of social change in Egypt, Tunisia, and Libya, music was used by professional and amateur musicians as well as non- musicians for several purposes, namely, to express a more generalized group identity, to capture the moment of the protests, and to propagate information about the situation to a wider Arab diaspora and gain support from them. Conversely, the state also used music at this time as a form of social control by promoting music that was uncritical to marginalize the challenging music.