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for the people that it's online. Good afternoon. My name is Omar Serie. I'm from Mexico. I'm the session organizer, and I'm going to make chair of this session about music and society.

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We name it music and society identities, resistance and politics through musical production.

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I'm going to read the acknowledgment on behalf of everyone gathered. I pay respect to the spirit of country. Here in Narm.

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where we are meeting, I acknowledged the past and present Coly nation Bulunduri, woi guru! As the sovereign people. Here the cultural knowledge holders who maintain and promote the norm of original law, customs and custodianship, responsibilities for country and the people. That country continues to sustain generation after generation into the future for all us.

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I recognize the important contribution that first nation thinkers have made to sociology, including challenges to our dominant ways of thinking.

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We thank all first nations delegates in the room today for their contributions to knowledge in the discipline.

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So now.

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what must I do to?

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That's fine.

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To turn back is exactly. Here

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is the

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we want this first one here. I can do it. Okay? So the we are going to have 5 presentations, one pre-recorded, one remote and 3 persons, 3 people that are here and

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on room. So we are going to start with Esme Gurl

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and the reading about Sulukule on a journey from preserving a musical heritage to protecting a place with music out of ethnographic. Be so I'm going to play it 100 and

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Hello, everybody. today I'm going to present my my research titled soccer on a journey from preserving a musical heritage to protecting Kapila with music.

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In this study my experiences and memories about Seluccia have been turned into a narrative thought to ethnography which doesn't then subjectivity and investigate the influence in the pursuit of memory and experience. I try to reveal both my own historicity and the traumatic transformation of my country cities. In this this direction my visits to Solucular between Spring 2,006 and fall

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2,013. My field nose, the bond I have established with the place over the years, the data obtained during the follow-up process of this inner ending transformation area with my worry about the so nuclear people.

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Spades has been brought together, and then by me, field Mouse are but so God's past pre-renewal renewal process and post-reanable process, my so-called experience and my sense of flows. But the disappearance of this place were handled with an inner view. Then the journey itself, which a mould

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from preserving the place of musical heritage to protecting a place with music. We realized in this approach gained balloon. In this context, the processes experiment by being a of solo-cola being inside solucula and losing sol nuclei are discussed from an ethnography view and the

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tinction story of Sol nucle. The most unique neighborhood of Istanbul, culturally and musically is clarified. The study was structured over the situations created by neoliberal urban policies as a major actor in the post 2,000 Turkish urbanization the victims and disappeared

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in this process. In this context, auto ethnography in the study is means of revealing the political beyond a personal writing. Why, a toile demography, actually, experience is

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volleyball. The story matters while trying to describe what happens. Your own experiences also gain meaning. You cannot think of urban space, independence of the community, and every touch we experience with the community makes us a part of the community. Every qualities study which includes filthy research, essentially creates an alternative to this study.

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And what's the what's the meaning of big E at geography actually relocating a topic problem or phenomenon of interest relocating to yourself within another relevant cultural experience context study in that critically and effectively constructing an auto ethnographic, central research classroom reading theories studies and citing current literature. That's this.

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the central research question and the relevance cultural experience or contacts, the assemblage. writing field notes, translating and metaphors and tense across narratives, remembering, remember checking, and re-checking interpretations to address ethical concerns.

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and very sloppy nuclear was located in the party district located in sight of the oldest settlement historical penis law of Istanbul, and according to the sanctuary, the population was 3,500, with about 500.

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They wouldn't want houses for the neighborhood before the Urban renewal project. and why I choose Lucille, and why it was important for me. So I I deferred from other neighborhoods in the

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in the city of Istanbul in terms of socio-economic characteristics, culture, location, and history. In many ways the atmosphere could be characterized as a Roman village.

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and there were many bread points in Sol nuclear history in 1,957, there was the first demolition actually to open a big bulwar. What on Saturday and in 1,969, sulkleturism, Preservation, and Sustenance Association was founded in 1,969. Again, international juice of festival

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was organized by by this association and 1982 s demolition happened in the area, and people lost their houses and they moved out, and then they created again their houses. Next by the All settlement, and in 1983 entertainment houses, project and economic spiritual transformation started in the area, and with this entertainment

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housing project. The people of Solo. But it's lookless, puzzled, increased the municipality, and the police department came to and and H. One to close these houses in 1,992, and

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it up in 90 94. The last entertainment houses were close in the area after this date. Actually the people of to look at became poor and poor. They buy that.

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And how my relationship started with this place. Actually, my first contact was in 19 and 2,006 for my undergraduate assignments. And then in 19

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and in and then in 2,007, I went there as an activist to save the area because we heard about the Urban Reynolds Project, and we organized for the days 49 events

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to make public a announcement about the urban renewal project and then in fall to the 2,008. Many activists from different disciplines actually had a meeting, and they taught to create. They

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taught to create an alternative project to save the sale sulkily. And we designed an alternative project actually, in that time, and in summer 2,009. The municipality wanted a revision of our alternative projects, and then we founded nuclear platform and the

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revise our first alternative project, a cut according to the demolitions in the A, and in 2,008, and in 2,009, the

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I, the. I went to the area under the demolitions, and I contacted people. And I had my meetings with the people's nuclear people. I had lots of Ontarios and surveys with so many people for my undergrad Ts, and after that I actually my franchise with the aria never ended. And

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it's locally people after demolition in the area. They moved to Karagen Rook, which is a place next to the old focal place, and I visited them there between 2,010, and

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to have and between 2,013 and 14. So I was lost spatially. But musicians found so locally passed into Turkish music history.

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full-class, never ending effect on my life since 2,006, and it was my first field experience as a student. It was my first encounter with smell of poverty as a person it was my opportunity to observe one's innate musical talent as a music listener, and it was my first encounter with the richness of Romanic culture as an urban sociologist. But so nuclei taught me was much more than an academic study.

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And then we look on our renewal process. Actually, you can follow. And from the stats in September 2,002, so nuclear was

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included in the municipalities or an animal program. Then they sign a protocol with fatimulus between fatty municipality, Istanbul metropolitan municipality and Turkish housing department, and then, in August 2,006, the neighborhood inhabitants found that thesolucular development of Romani culture and soldered and association.

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and in December 2,006, the municipality issued an emergency explorer creation decision for Sol nuclear. We sought to solve issues arising from priority ownership disposed in the area in February 2,007. So nuclear inhabitants and the Chamber of Architects went to the court to cancel the decision. In March 2,007 volunteers decided to organize 40 days, 49 events

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which I said before, in August 2,000 seven's nuclear platform was established to say so, Ukulele, and in November the renewal project was approved by the conversation.

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both dance-looking. The project was discussed with the Turkish Parliament and the European Union Progress support for Turkey included a section about Selucole. While all this happened, enabled, started to change hands.

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Buildings were sold in January, the twentieth 8, a group of Academicians from the local universities actually met together, and they against the renewal project, and they had a workshop, and they created an alternative project which was based on economic development strategies for Selucula and their culture and their talents. In May 2,008, huddle-es, which is the oldest. One of the oldest Turkish celebration of supreme, was celebrated in this area.

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despite the demolition. In July, 2,008, Lucille Children's Art Studio was established, and in September, in the same year a workshop was held at the this technic University to create an alternative project. And then.

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in November 2,008, the Platform recognized that 400 residents in Selucra didn't have housing right, and they wrote letters to the municipality, and they used all the like tests to build water bills to show those families lived in the area for years and years

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a renter. These letters were successful, and 120 and families were accepted to obtain the arise. After this letter application process. In April 2,009 stop alternative project was presented to the Istanbul Cultural and Natural Heritage Communization Board, and they all, for, like these projects. In May 2,000

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9 Adversary group, on forced evictions from the United Nations, visited the area. The Council of Europe, Commissioner for Human Rights came to visit the area, and in August 2,009 look less to the revised the alternative project, and in 2,010 the municipality began implementing the project in the area and completed at the end of

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2,012, to to protect the historical, cultural musical heritage. The alternative plan emphasize 7 points current from any culture in the area. So nuclear musical heritage which comes from that to sounds for

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400 years unique social links inside building blocks and street patents, registers. He circles structure and steel architectural examples in the area. You are type houses, the rate of enters and land house knee-right owners who bought the properties during the renewable process. And what happened in this locally? I mean how they try to save their life, their environment. They are

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history by music in for today's 40 nights. Even actually they performed. They gave concert to the Istanbul residents, and there were several constants, art workshop neighborhoods with the seminars on solo, and they

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so many cultures downstairs, children, workshops, etc. And in the spring first, actually. Israelis is one of the most important festivals every every year in our country. It was noble, celebrated in our cup district of Istanbul, but in order to raise awareness about solo and stop the destruction alternative, hedgehogs. Festivals were held in soloquia during this bomb renewal process, and local musicians, apart from there

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and then in 2,008, the swollen orchestra was established with the local musicians in the area, and they tried to great public opinion. So that's so clear. Wouldn't be demolished by giving concerts at many festivals.

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And then, during the demolitions to OP. The children's studio ands, nuclear art studio were founded, and in this organization's children, who are already musically gifted, due to the culture they were born into had a chance to play different musical instruments and some other art workshops.

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and in 2,008 Tony Gaddaf visited Selucula, and pointed out that this area was a cultural asset that should be protected in 2,008. Again, the music group, Tahrabat Isian, was founded by young Solucula people. This group, which platform hip-hop music, with lyrics protesting to demolition, became vulnerable to the country

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before Google Bordello's Istanbul concert in 2,009 he visited suicide and played with the

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local musicians of selection in the neighborhood. In the same year he wrote a published song, Educate Thai, neighbor for Solucula, and during the demolitions the famous group for famous church musician, group.

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Khadist Jul. I have Sushian workshops with children in Soapolis. In the meantime they created the song Nazar, which they made for a girl named Nazar from Selucula, and they put this song in their children's right album. In 2,012, also the hip-hop group which I mentioned before Tahrira Isiyam, which was established by Jungsulukule.

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People in the shadow of the munitions, became well-known to a dot the country, and they took the stage in the most important concerts of the country in harbour, with the Kartnish Circular and music group, and soly ancestra, which was founded in 2,014, with the encouragement of activists who came to the came to protest. The urban level project still continues to give concerts today.

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and in August 2,019, one of the dozens of lousy is filled during the demolition process was concluded in August 2,019, 7 years after Soloplia was completely demolished

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and the new project was built. The renovation project was cancelled by the court. Today's nuclear platform still stands with the so-called people who mostly live in the adjoining community called Karagumric, right next to the old soluble, there are still the children's studios, so nuclear Roman Arkansas and the women's studio

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and Sasha, but I am using for a conclusion. So I entered the planning literature both with the displacement project carried out under the name of urban transformation which caused the destruction of Istanbul's last Roma settlements, and with the transformation process experienced with Turkish

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Turkey's first advocacy planning experience in addition to this it will always be remembered as the laws of a cultural walloo that cannot be returned due to the late decision of the legal process to cancel the plan. In addition to this, one of the most important points to be underlined is that Souclus assemble, which is a music ha! As well as historical Roman culture has managed to use music and defensive instruments while defending the settlement in the environment created by urban transformation, and the

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it has become become a symbol of musical resistance with its innate T musical talents. Even when a historical cultural music settlement disappears, it marked the stage of history with its latest musical production. Thank you very much for listening.

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Well, thank you. So now we are going to have a

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josephgreenwood: and remote Mr. Greenwood, about songs and performance of Kurdish identity. Are you on online, Mr. I am? Yes. Can you hear me?

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All right. So

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let me. I'm going to stop sharing my screen

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so you can share yours, and you can control what

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josephgreenwood: this sounds very technical.

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josephgreenwood:  how do I share

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you have to assume? Oh, I see. I see. Yeah, I'm in Syria.

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That's in order that you can control what you're talking about.

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josephgreenwood: Okay? So that worked.

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josephgreenwood: I'm sorry. Have I shared my screen?

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Okay, if you have trouble.

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josephgreenwood: This is

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josephgreenwood: okay. So

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did you upload your presentation? Yeah.

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josephgreenwood: I did. Yeah.

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yes.

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At the bottom of the screen you have a a green. But on the yeah, that's that's what I'm I'm trying to use. But it's coming up with a consistent preferences. Okay? So you have trouble. But you upload it? maybe I can do it for you from here. If you could, you actually this is a new computer. So it might be a problem with that.

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josephgreenwood: they won't actually

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so.

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 Oh, excellent! Thank you. Please just ask me when to change, and I can do it for you.

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josephgreenwood: That's brilliant. Thank you.

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josephgreenwood: yeah. Sorry about that. Everyone. thank you for inviting us to actually present this just a bit of background information. So I'm a teacher will L to university called Ukh, which is the University of Kurdistan howler.

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josephgreenwood: and basically, I'm sort of coming from this from a similar

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josephgreenwood: perspective from when I did my Phd. In Ireland, in Belfast.

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josephgreenwood: where I looked at some Irish songs, Irish traditional songs, and how playwrights

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josephgreenwood: that use these songs within their plays. And basically, I was treating songs as a form of cultural memory or collective memory.

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josephgreenwood: but this is kind of a an interdisciplinary and project because, doctor on the Christina Marcus, she's a sociologist, Vienna son, and she was actually one of my ma students. She's a translator. She's Kurdish.

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josephgreenwood: and we also had some help from some interns. who were my U T, students.

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josephgreenwood: So basically, yeah, that that's just sort of the background of it. And then one of the things I found was the work parallels between the song Traditions of Ireland

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josephgreenwood: and song traditions of them of Kurdistan.

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So yeah, if you could put this on to the next slide.

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josephgreenwood: you could.

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josephgreenwood: Okay, so I'm here. this is the idea. And the the starting point is that the songs, because they are forms of cultural memory and somehow contribute to this idea of having a distinctive cultural identity for the Kurdish people and you know. I'm pretty sure that some you have heard of them, Iraqi Kurdistan, because we're specifically talking about this region. for example, in 2,017 there was a referendum

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josephgreenwood: 92% of the people here voted for independence. It was all to the number of Iraqi sanctions, closing the borders, etc.

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josephgreenwood: So there is this sense of You know the Kurdish

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josephgreenwood: seeing themselves as having a distinct cultural identity and therefore deserving independence and their own nation. And then these kind of them, cultural distinctions are very much sort of performed in a quoted in a way as well, and, for example, they have their own Flag Day national Flag day, and you see flags everywhere here. In fact, it's kind of compatible to Belfast. In that sense.

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josephgreenwood: Also they have their own national dress, they and they also have language, protection, and songs of a very important aspect of the this as well, you know. You hear. If you get a taxi, for example.

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josephgreenwood: they'll always be playing Kurdish songs, the students always telling me about Kurdish songs. so there is this idea that songs are very important to them. And then you know this idea of having this all in culture as well.

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josephgreenwood: So really, what we're looking at is looking at how the young people regard these some strong traditions. But that's the initial stage, anyway.

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josephgreenwood: and we're looking at different kinds of songs they might listen to, because there are many forms of Kurdish song. you know, independence, immigration commemoration. you know, there's dance music down, traditional dance songs, love, balance, lullaby, etc. And also there's a modern Kurdish songs which I'll talk about a a bit later.

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josephgreenwood: Also, in what kind of spaces are these songs listen to by by these people? Well, Are they listened in a kind of quoted in sense? Or is it more that they, are listened to in terms of things like the New Year celebrations which scored new loss here, weddings, etc. also who sings them. And then you know what is the importance of these songs? And for the young people.

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josephgreenwood: and do all young people feel the same way about these songs. Okay, yep. And next slide.

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josephgreenwood: This was saying before you know, there is a strong sense here of the kind of folk tradition, and you know, traditional orbital culture. you know the The Kurdish village life is very much revered. you know this forms of poetry forms of dance. This is saying, and and you know song is a very important aspect of this.

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josephgreenwood: And this was saying, before you know these these some forms of identity are kind of performed in a kind of a quotient way, as well as as well as being kind of preserved in museums, etc. they are used within celebrations. But also, it's saying, and especially in terms of songs, you know. Listen to on a day to day basis.

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josephgreenwood: Okay? Yeah.

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josephgreenwood: So you know, it's just saying, before, we're viewing songs as this kind of form of a cultural memory, or what Mp, and all the calls and environment of memory.

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josephgreenwood: and the fact that you know sort of songs. They kind of preserve and cultural ideals, but also the same time they kind of perpetuate them. It's almost kind of like a sort of feedback loop, you know, as this quote here says, you know the effect and cause at the same time.

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josephgreenwood: Yep.

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josephgreenwood: so you know the the songs. they not only communicate, but also kind of nurture shared beliefs, and but also, you know, like any form of memory. it is open to change. it's mutable

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josephgreenwood: Memory is not static. It's not stable. And that's something else. You know, we're gonna focus in on, especially with the the younger generation, will they have the same form of cultural memory as the older generations.

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josephgreenwood: and I said, You know this idea of nationalism. Obviously, it's nationalism of the small and and with with using the word nationalism, because we're not going to assume that every young curd

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josephgreenwood: feels the same way about the songs, and therefore you know, that will reflect on that attitudes towards how they see themselves as Kurds. So You know, I just really want to stress that. that use of the word nationalisms.

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josephgreenwood: Okay, next slide.

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josephgreenwood: So in terms of our methodological approach.

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josephgreenwood: you're very much qualitative, constructive. In terms of this I can say, And our starting point is being focused groups. And then we've done focus groups in the different regions of Iraqi, Kurdistan. I mean just to give you a very, very brief sort of history. Potted history. the this area of Kurdistan is the Kri, which is the Iraqi region of Kurdistan.

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josephgreenwood: but the Kurds themselves. Some considered Kurdistan great to Kurdistan and to encompass parts of Turkey, Syria, Iraq, and Iran.

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josephgreenwood: and then within Iraq and Kurdistan, you basically have all governance. So it's sort of split in full. And sections. You have a bill where I'm based Suleimaniya, Alabja, and the hook

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josephgreenwood: and These different regions, these different governance are influenced by the proximity to, for example, Turkey, or to Iraq, or to around or to Syria, and there are actually different

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josephgreenwood: dialects, or some of the argue, even different languages within the different governance. So there's not just one Kurdish language, the Cerami which is spoken here, and then, for example, in the north, you in the hook the hook region the up like Paddini Kaman, she

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josephgreenwood: So this is why we wanted to look at these different go

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josephgreenwood: of that. Some students from different universities within the different governance. And also we we most of the focus group. with students of music. As well.

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josephgreenwood: Okay. Yep next slide.

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josephgreenwood: So after the focus groups, and then we're very early on in in terms of the stages of of this research project. And so we've done the focus groups. And now we're kind of organized in the interview. And

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josephgreenwood: we not only want to interview the students, but also and the older family members.

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josephgreenwood: you know, to get the demographic of the older generation. and we also want to interview some of the singers, the songwriters.

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josephgreenwood: and the way we're choosing the singer song, right is basically those that were listed and by the students. Or you know the ones which were mentioned and by the students.

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josephgreenwood: and also I think this is important. Yes, myself. I I'm English.

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josephgreenwood:  doctor Marcus is Portuguese, but Vienna is actually Kurdish, and she's from to cook. So you know, we've got one inside of 2 outsiders, if you like.

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josephgreenwood: Yeah. next one

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josephgreenwood: that. So you get next slide. So I mean, these are just sorry. Yeah. And thanks. these are some of them, you know, just some excerpts

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josephgreenwood: from what we got from the focus groups. so the students. it's basically sort of talking about you know, some of the profession of the Kurds. I was when Saddam basically used chemical weapons against the Kurdish city.

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josephgreenwood: and this idea and that. What she is expressing, I I think, talks about this idea of the distinct cultural identity.

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josephgreenwood: you know, and she talks about Kurds and have the most beautiful traditional clothing and the customs.

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josephgreenwood: and you know, some very much fits into this. What she's talking about? yeah, the next slide.

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josephgreenwood: And here, you know, we've got some some different sort of information on how Kurdish songs are involved in in the daily life. for some some of the young Kurds like this. The students You know she does listen to Kurdish songs on a daily basis. She listens to the old ones all the new ones that have Kurdishness inside them.

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josephgreenwood: and it's almost again. This very much reminds me of them. Some of the the conclusions I came to when I was writing back. Irish traditional music. this is sense that some the songs have a kind of a central quality, if you like, but also how this kind of stream of memory which links the listener

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josephgreenwood: almost to a kind of pure, a sort of uncorrupted sense of Kurdishness.

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josephgreenwood: Yep, next slide, please.

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josephgreenwood: And here yeah. Also, you know, especially for the the younger generation, who are very much, you know, connected to the kind of global society through a technology. And that's a social media. there's awareness that's and Kurdish music is changing, and it's being influenced by, and foreign music

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josephgreenwood: both in terms of you know the the the theologic approach in terms of technology. And again, this

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josephgreenwood: almost sort of complicates this idea of what Kurdish identity is. this singer here in that. It's already with someone who's mentioned a lot in the focus groups.

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josephgreenwood: and he seems very much sort of split the consensus

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josephgreenwood: because his his music is very much influenced by modern technology. Also thematically, you know, it's very much influenced by hip hop, so You know the a number of them, the students, his attitudes towards women, was very much criticized.

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josephgreenwood: but for some of the other Kurds The young goods is what basically, this singer is getting the kind of international reputation. You know, he's very much listen to on things like spotify Youtube.

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josephgreenwood: And then he's actually put some of them.

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josephgreenwood: navigator is actually kind of then putting Kurdistan on the map if you like, and making other people more aware of Kurdish music and of Kurdistan itself.

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josephgreenwood: yep, if we could go to the next slide.

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josephgreenwood: So yeah, again, this is just really sort of an re, emphasizing what I was saying about some how? some for some of the younger generation. you know. Basically. this idea of Kurdish music. connect some with the past.

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josephgreenwood: yeah, And if you go to the next one, so I'm I'm aware that I haven't got much time left. So

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josephgreenwood: so again, this is again, kind of me? Emphasizing.

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josephgreenwood: So yeah, no. Actually sorry. If you could go back to the last slide

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one more.

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josephgreenwood: yeah, if you could go back to the last one.

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Yeah.

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josephgreenwood: Yeah. So here. also, as we're saying before, there are these 4 governance different regions of Kurdistan and again, we're finding that the attitude of a group of students from one governance. you know they have attitudes to the songs from another. Go.

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josephgreenwood: Another government might some, you know, again split the students? for some of them, you know, they were accepting of the music. Say that was

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josephgreenwood: song in a

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josephgreenwood: But for others they couldn't really connect with these songs that were from a different region of Kurdistan.

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josephgreenwood: yeah. And then we could go to the next slide.

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josephgreenwood: So I mean, I think, in what we we kind of on starting to learn even at this very early stage

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josephgreenwood: is under this use of the word. Nationalism is very important, because, you know, there isn't this kind of like one perspective

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josephgreenwood: on Kurdish stones.

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josephgreenwood: You know the young people have various different attitudes towards Kurdish songs, and might this, therefore, sort of reflect upon their attitudes? to Kurdish identity.

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josephgreenwood: And then, you know, that's something that's Obviously, we're gonna explore the more detail. with the interviews. So, as I said, at the moment, this research project is that it's very early stages. And really, the purpose of this giving this presentation was just to sort of share. what we're doing it, person. But also, you know, we, we're open suggestions as well, and from from the panel and the the audience.

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josephgreenwood: So yeah, thank you.

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Thank you, Mr. Green? Good. So now we're going to listen to the presentation of Malay desai. who is going to talk about the Imperial venue race, the Cold war and the sound of us empire. So please my neck.

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you have 15 min for your present.

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Let's see how far I get.

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So Hi, everyone my name is, I teach in the Department of American Culture at the University of Michigan, in the States. I've been working on this project, which is sort of. It's an odd project. It's about this genre of music that was popular in the mid twentieth century. In the United States it was recorded American music known as exotica.

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and it's sort of like lounge music, instrumental, often known as mood music. But it featured non-western instruments. So this paper is really it's rooted through a particular figure named Chino, who is a performer of this music.

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Chino was the only survivor of a lost race of people from the wilds of the jungle in a remote part of Central Africa, where few white men had ever been.

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He was found near death by missionaries after his family and village had been destroyed through battle with another tribe. The missionaries cared for and nursed him back to health, and while they were never able to master his language, they did ascertain that his name was Chino.

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Chino seemed to possess a strange sense of rhythm, and at an early age was found chanting and pounding on anything that could make noise. After several years in Africa, the missionaries who taught him to read and write English brought Chino to the United States, where they settled in Philadelphia. He attended school there, and never sees playing his drums and chanting his weird songs. He can hold an audience spellbound with his weird and interpretive fascinating rhythms as you listen to and play.

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The more you will agree that Chino is the king of Percussion.

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So read the liner notes of percussionist. Chaino's Album. Night of the Spectre, released on tamper records in 1958, over the course of 4 years. In the late fifties Chino had recorded 6 albums of music, including one

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with verve records, and in each some version of this biography appears with more or less detail. On one album Chaino's lost tribe members were described as super beings able to understand and talk and run with the animals, and another Chaino is said to have been invited by

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Several psychiatrists to play for disturbed institutionalized patients on yet another. The liner notes admit that the story seems incredulous, more fiction than fact, like a press agent's pipe dream. But nevertheless, all of it was true and necessary to understand the power and the beauty in his music.

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with the exception of the details about his talents. Of course none of this was actually true. Chino was not an orphan, nor was he born in Central Africa to a lost tribe. His name was not Cheneo either. He was born in Philadelphia in 1,927. As Leon Johnson grew up in Chicago, and a stage name, some have speculated may have been an homage to the great Cuban drummer, Janopozo.

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though it's hard not to consider its other resonance. A person in chains. In this way Chaino takes his place among the many black artists of a mid-century genre of music known as exotica, who invented alternative biographies and foreign identities to navigate the harsh color of Jim Crow America.

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The most famous of these

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was Korla Pundit, who claimed to be born to an Indian Brahmin father and a French mother in New Delhi, but was actually born John Roland Red, in St. Louis. He had a very famous show on Los Angeles television during the 1,900 fiftys.

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Others, too, like the lesser known Prince Onago and Princess Moana, drew on forms of foreign blackness as a way to confound and make illegible their African-american identities.

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 I'll skip ahead a little bit. The chain of identity was largely conceived by his producer, Kirby Allen, a white recording artist who had pressed a few singles in the crooning style of Frank Sinatra and Bing Crosby. Allen had become frustrated with his own fledgling music. Career had traveled to Africa's Gold Coast present day, Ghana, and was inspired by the percussion that he had witnessed during the music festival there.

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Dan Noviki has written about. Chino writes, despite the pretty wild rhythms of the tribesmen, Allen concluded that the undiluted African sounds were too repetitive and boring to appeal to mainstream record buyers. Instead, he started thinking of ways to Americanize this music.

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After Allen saw Lee and Leon Johnson drumming at a dance studio in Watts, California. He had found this artist in a perverse racial calculus. He would Africanize Johnson and help construct and market the Chaino personality, a persona for a market of listeners compelled to hear new sounds from elsewhere.

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So I begin this evening's presentation with Chino's recording output and career because it serves as an entry point in understanding the complicated politics of race and empire. In this genre of music, mid-century exotica, music. When thinking of exotica, we often consider it as a music that tapped into listeners desires their conscious or unconscious desires, sexual or effective.

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But what if, we asked instead, what kind of anxieties did Exotica tap into? Why did this music, which trafficked in so many well-worn stereotypes of racial others appear when it did. The 1950 s. Not only saw the seismic geopolitical changes that led to beginnings of what would be known as the Third World, but also the spate of demonstrations and legal actions at home that marked the start of the civil rights movement. How do we make sense, then, of Exotica's historical ironies?

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The historian, Robin D. G. Kelly, explains in his work on the Exchange between African and African American musicians and jazz artists in the 50 s. And 60 s. That the conditions that made these fusions possible and commercially viable were ironically brought along by a brief commercial boom for all things African in the wake of decolonization

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Kelly explains the African invasion fueled a desire among Americans for the primitive, the unspoiled, the savage, even the sexually charged, and

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a number of these records appeared in the 1950 s. With titles like primitive percussion jungle drums and percussions for playboys. Some of these albums were the product of field recordings, like new songs of the African coast, recorded by musicologist Arthur Alberts, while others had far more. In common with the rise of this this genre of exotica that began to spring up in the early 1950 S.

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Others still, like those recorded by Thurston, Newton, and Auggie Gopil, felled somewhere in between. The pair had collected percussion instruments from around the world. Yet, as Robin D. G. Kelly points out, they also admit in the liner notes that a few of these instruments came from the Don, the beach. Comer restaurant, and Hollywood

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Chino's albums ought to be contextualized within this milieu of aesthetic trends. And especially in this movement we call post-war exotica.

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How do we understand the politics of exotica as a kind of Ursat's world music exotic, a combined non-western instrumentation with lounge music that came packaged in Lp covers that often featured, scantily dressed women in jungle landscapes, in its often complicated liner notes, it presented itself as audio encounters with the non-west.

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using pseudo- ethnographic descriptions for each song. It called itself music from the rest of the world. But it was a quintessential form of American music, meant for leisure, and catered towards middle-class consumers with enough disposable income to play on newly acquired hi-fi systems.

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one of the Exotica's most famous composers, Martin Denny himself described the music as little more than window dressing, but more than a simply a weird genre of American music. Exotica encompassed a visual aesthetic that combined imaginaries of the primitive with the modern and the technophilic.

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Francesco Adenolfi describes the Genre's roots, and the memories and nostalgia of American servicemen stationed in the Pacific during World War Ii. If we take the long view, however, we might see Exotica as the American mass culture version of an impulse that has existed for centuries in Western music.

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Like nearly every other instance of exoticism in Western music.

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mid-century exotica was underwritten by the imaginaries and infrastructures of empire. In this case the the complex cultural politics of the Cold War, which pulled all kinds of aesthetic forms into its ideological world.

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As we know, jazz was weaponized during the Cold War historians, Penny, Vaughanesh, and and Scotsall have written extensively about how the Us. State Department during the Eisenhower years instrumentalized the political value of jazz equating the freedom of jazz.

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Music to expressions of individual freedom possible in free market America as opposed to the collectivist conformity of the Soviet Union. In her book Sachma blows up the world. Vonnish and meticulously details the history of the State Department's deployment of jazz musicians as goodwill ambassadors to quote, build cordial relations in African and Asian states

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from Louis Armstrong, stint in the Congo to Dizzy Gillespie's tour in Bombay. Jazz artists also served with no shortage of irony as representatives of America's racial equality against the worldwide criticism of U. S. Racism.

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American artistic expression, in other words, was being exported around the globe, and particularly in the Third World, the most highly fraught terrain of the Cold War's ideological battle in service of a broader policy of global containment.

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Exotic, I would argue, function as a kind of reversal of this export, aiding in the production of consumable images of a decolonizing world through what I like to call fantasies of containment. Emerging during a historical moment that witnessed both the decolonization of much of the European empires, and the growing presence of the Us. In those very same continents.

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Exotica, aided in the construction of imaginaries of an a historical third world, placing it squarely into the field of representations that the American States call it Christina Klein calls cold war Orientalism. So Klein describes a cultural formation that refashioned American national identity from its tradition of isolationism to global power. Cold war, Orientalism described a world in which the East and West could be understood as related to one another outside of the coercive ties of empire.

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so Corla Pandet, who I mentioned earlier, was a very good example of this. There would be images of him and his family a multi-racial family, and it would say, a blend of East and West right

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on several of Chaino's records. you know, in contrast, we're song titles that that explicitly referred to the Maumo rebellion in British Kenya, the radical Kikuyu. Anti-colonial movement that lasted 7 bloody years between 1,952 and 1,960.

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As early as the 50 s. The mammal Rebellion was given the technicolor treatment in a series of British and American films that were set and shot in Kenya. Even as the violence was still unfolding a hybrid of war stories and jungle adventures, films like Simba safari beyond Mombasa. These are all from the mid 50 s. Featured a variety of plots, but always portrayed the Mamo as a quote, anti this is from the scholar

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quoted here David Anderson, the Mamo, as an anti Christian force that challenged modernity and the white settlers as the war's unwitting victims. This in spite of the fact that black Kenyans were overwhelmingly the ones dying. An estimated 13,000 rebels were killed by British forces, and over 2,000 Kenyan civilians were killed by the rebels for their opposition.

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In contrast, there are only 32 European casualties.

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One of the most egregious films about the mammal was a 1955, documentary, which, not having found distribution, was marketed as an exploitation film and screened in grindhouse theaters. across the Us. So kind of marketed as as a kind of pornography. In the United States

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scholar, David Anderson mentions that the only film that portrayed things differently was something of value released in 1,957, which had presented a more sympathetic explanation of the motives of the mammal rebellion. Incidentally, this this film received mixed reception at the time, and some theaters in the American South refuse to screen it because it hits too close to home. So you can think about like how these these global struggles are also being imagined within the the domestic setting of the United States.

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But the mammal rebellion continued to appear in other forms of us popular culture as a complicated signifier for black resistance, for anti-colonial violence and for racial equality.

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ingrid monsoon notes that Art Blakey's message from Kenya, a duet with Sabu Martinez, that appeared on his 1,955 compilation album may very well have been a nod to the Mao rebellion, inspired by his own travels in Africa.

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and in 1,953 art farmer recorded Malamo with the label Prestige, a tune that begins with this Afro-cuban claw, rhythm and features, a melody that resembles John Coltrane's a love supreme nearly a decade before it's recording. I encourage you to look it up. It's an amazing one.

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historian, Gerald Horn, explains that in the Us. The term Malamo quickly became adopted as a metaphor for fierce resistance, and was adopted as such by African Americans before this spreading as a verb to the population as a whole. So civil rights activist, medgar, Everest asked, why not create a Malmu in the Mississippi? Later, the New York Times reported nervously that that Malcolm X. Called for a Mao in the United States as a way to even the score

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in 1,963, screaming Jay Hawkins, a Blues musician, a released feast of the mammal, putting on his own Macab and theatrical spin on this term, describing a feast of quote, fat off the back of a baboon, and eyeballs for heathen olives. The song some scholars has said, Lampoon, the ridiculousness of white stereotypes of African culture.

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and more specifically, Hawkins song, referenced and parodied, the alleged oath of the Mao reported by the British Corfield report is consisting of, among other things, consuming a stew which contains soil, goat's blood, all kinds of, you know.

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grotesque quote, unquote, grotesque things.

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So how did the Mao signifier play out in Chino's music in his verve? released jungle meeting rhythms, whoops.

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a track called love chant of the mamma was described as expressing their love for killing in torture of the Mao Mao, a track that also saw a 7 inch release in Italy. The track's description reads a a depiction of the the torturing of a mammal warrior who has not passed a test of strength, refusing to take the blood curdling oath despite the quasi ethnographic descriptions, the recall of torture, and the Mao Mao, the music in its rhythm, the sounds of heavy breathing and growing moans.

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mit Ctl and really captured the rhythms of sex. This, in turn, was a large part of how Chaino's music was marketed. I know I'm running out of time. So I'm going to. Just

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oh, I'm sorry.

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Okay, well, I think I have about a minute or 30 s left. So

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very quickly, I'm just going to sum up what I wanted to say, and you know, we can kind of pick it up in Q. A. If if if folks are interested so Chaino's role as the accomplice in seduction. But the the sort of seduction of this kind of aphrodisiac music that you can kind of see. It's called jungle mating rhythms. It was specifically marketed, marketed to a white middle class audience as a sort of aphrodisiac mood music.

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So this is the this last paragraph kind of gets at this Chino's role as the accomplice in seduction played out in celluloid, albeit through tamer visuals than some of his Morris And M. Themed album covers. In the 1960 S. Chino appeared in 2 films as himself, and in both his music appears to throw women into states of uncontrolled

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and lusty hypnosis. So he kind of appears in this film that features, I think Dennis Hopkins, a famous Hollywood actor in the 1,900 sixtys. And this woman you can kind of see from these scream shots she's Chino is playing, and she's sort of enraptured by this music and taken over

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so much of this shouldn't be surprising. Right, as Stuart Hall reminds us, sexuality was a powerful element in the fantasy which the West constructed about the non-west and the ideas of sexual innocence and experience, sexual domination and so submissiveness play out a complex dance in the discourse of the West and the rest. Those are Stuart Hall's words.

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It's important to remember that Chaino and his music were not framed by only the discourse of the West and the rest or the geography. Geographies of the Occident and Orient, as so many exotic albums were in the liner notes. Chaino was described as a virtuoso of music able to switch between music from the Belgian Congo to Cuba to the rhythms of a voodoo ritual he had learned in Haiti.

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This was a form of Exotica, which, in its visual language, its instrumentation, and its naming, recall the geographies and histories of both empire and transatlantic slavery histories that continued to shape, and the unfolding politics of race and music in mid-century American Empire. Thanks.

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thank you, my knight.

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So

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we are going to have now the next

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exposition from

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Ryan Martin.

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So it's 2 mechanism for musical improvisation. Political impacts, the eruption and the expression of public opinion. So please rain, go ahead.

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You have 15 min. Thank you very much.

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There is much scholarship on the political impacts of improvisatory music in, for example, Georgina Bourne argues that musical improvisation can produce often political, social, musical experiences by shaping immediate social relations, animating imagined communities, and refracting wider

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social relations. an institution of forces.

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 What is that?

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Fishlyn Heble and lipsets discussed various roles. Musical improvisation might play in political change, including constructed and anti-authoritarian.

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And I don't know. It has a good things. anti-authoritarian communities imagining alternate social possibilities and encouraging their actualization teaching skills, crucial for political mobilization and creating connections across social boundaries.

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However, this work tends to examine musical improvisations, political impacts via less direct aesthetic, symbolic, and cultural processes. This work is important, however, there is possibility for further investigation into musical improvisations, direct influence on political actors, often in combination with these more less direct and symbolic and cultural processes, and especially via public musical. Processed

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in this paper, I start to fill this gap by proposing 2 potential mechanisms drawn from social movement studies, namely, disruption and the expression of public opinion.

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I'll examine how musical improvisation tends to contribute to these mechanisms.

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using the casseroleazos of the 2,001 to 2,002 Argentine financial crisis. As an example, my basic argument is that high levels of improvisation depending on a specific realization in context, increases the potential for protests with diverse participation and loud and noisy sounds. This often produces disruption and can communicate an opinion that is perceived as a negative sanction representative of the views of the people.

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I define musical improvisation here as the intentional creation of a musical act as it as it occurs. Of course all music involves this to some level. So improvisation should be thought of as a musical property that exists to varying degrees, and it manifests in multiple ways.

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There are several ways that protests tend to affect the actions of political actors.

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protesters using public demonstrations like the casualties are not directly involved in political decision making. They are neither in Congress voting on legislation or a part of the Executive. Realizing this legislation

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as a result. Protesters enacted political change by influencing those political actors that do directly make and execute these decisions.

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2 mechanisms common in the literature.

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for this process, our disruption and the expression of public opinion, as I mentioned before.

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to start disruption. The disruption mechanism involves disrupting public order and the normal functioning of institutions valued by the Government forcing a response from them to end the disruption. This duplicate requires that the Government be unable to ignore the mobilization, and that repression be politically or material, materially unviable, so that addressing protested grievances becomes the only realistic response

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is also a mechanism commonly employed when the protesters struggle to make change through other means.

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The expression of public opinion, on the other hand.

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involves shaping political actors perceptions of public preference. This has the potential to lead to political change where those actors value the public's opinion, such as when trying to Ghana votes for an upcoming election, or and this will be relevant to the example that I give trying to diffuse social tension to prevent further disruption. And that's one way that the 2 mechanisms can interact with each other.

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There are many ways that the expression of public opinion can occur, for example, might be a formal mediation process. Explicitly, it's stated as part of protest, chance and placards, or symbolically communicated by the nature of the process

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to Understand how musical improvisation might contribute to this processes. I'll now examine the castle. We'll briefly examine the cassava as of the 2,001 to 2,002 Argentine financial crisis.

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these observations are based on my analysis of video and textual depictions of the crisis and the protest and a review of the existing literature. So the

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Castro-lazo is a form of protest common to Latin America, but also spread to around the world that involves banging pods and pans with other everyday household items. Usually kitchen utensils like wooden spoons or cutlery.

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It's frequently part of a large of larger public rallies, and often accompanied by collective chanting, though it can also be performed solo from one's own home, which is what happened during the crisis.

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yeah. In the case of the casualties during the crisis, they peaked on the nineteenth of December, reportedly, spontaneously, and throughout the country, and this was in response to the increasingly dire economic circumstances, the corralito, which is, which is a policy that restricted bank withdrawals.

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and the President at the time de la Rua, his announcement of martial law.

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the sound for our sources for this particular casseroleisers were not limited to pots and pans, but included whistles with azellas, drums, body, percussion megaphones, and even car and motor icons.

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The the musical material mostly varied between me and chanting, accompanied by these improvised sound sources, but it also at times resembled a sort of pulse of noise that really highlighted the improvisation that people were doing with the improvised sound sources.

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the former, in other words, the more mated sections, where there was a clear pulse, mostly involves simple repeated units and rhythmic patterns, usually in quadruple meter

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of various different temp.

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both moderately and fast, and in the at least in the recordings under analysis, that, sorry that I could find.

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and the percussion would often imitate the chance rhythms.

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and in addition, participants would also play additional layers that elaborated on these units and rhythmic patterns. So I might quickly play some footage of that that I found on Youtube. the December, the nineteenth protests, 2,001.

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Today. I do not get this by you.

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my out. I. Too bad, I

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I

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hopefully. You can see some of what I just described in the variety of music in that occurred during his protests.

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So the literature discusses several political changes that are at least partially attributable to these protests.

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probably the most clear is the resignation of various government officials, including Finance Minister, Domingo, Cavalo, President de Laura, and other politicians at federal, provincial and local levels.

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and this was a partialization of the movement's demand which was common in their chance to remove those procedures responsible for the crisis from power.

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Another commonly discussed political outcome was the policies of the Dohalde and Kirchner administrations which followed De Laura.

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These policies aimed to reactivate the economy while also placating the protesters and preventing any further social rebellion.

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Specifically, these policies sorry, this rejected the policies often seen as responsible for the crisis, such as Peggy and the peso to the Us. Dollar or the coralito which I mentioned before. The restriction on bank withdrawals

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and instead, the Government tended to institute policies that enabled social welfare, foster domestic industry in consultation with social organizations.

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although

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this should not be seen as a wholly positive thing, because in the long term there are still many issues with these governments and their policy for Argentina. But it is a results in political change partially attributable to the protests

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looking at a longer time scale. It's also arguable that the Nationalist and Populist identity of the movement provide a material for Kirchner to appropriate and secure the election in 2,003.

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So how did caster Alaska contribute to

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these political outcomes via disruption and the expression of public opinion. And then also I will then discuss a musical improvisation's role in this.

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So

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first of all, it's obvious hopefully, from the video and my depictions, my descriptions, that the customer allows us of 2,001 and 2,002 significantly disrupted public order. In the cities and locations that they occurred

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in a way that the Government could not ignore.

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It is clear from ethnographies, video evidence such as the ones that I just the one that I just played and the different textual descriptions of the protests that this, a big part of this disruption, was due to its loud and noisy character. Venezuelan, a prominent Argentine newspaper, depicted the December nineteenth protest as a thunderous demonstration that began with pots and pans banging on balconies and spread to the streets with the sound of horns, speakers, and insults against the Government.

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combined with the high loudness, was the extreme noisiness of the protests

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examined in the footage of the protest. Hopefully you can see that the Stan, the storm of plots, pans, car horns, chance, and other sound sources was highly discordant.

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 Further disruption was supplemented by the spatial disruption of people marching through the streets occupying the plazas. Once again, as you would have seen in that video

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in terms of the expression of public opinion. This madness and noisiness also symbolically expressed the public's opinion to the political actors.

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and it should be self-evident to most people that this was a opinion of intense and negative sanctioning and intense negative opinion of their recent policies and their recent actions.

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You don't need to read the signs or listen to lyrics of the chance to know that a pls are full of people shouting, singing, and banging pots is deeply dissatisfied with that Government.

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in addition to this

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Nationalist and Populist identities combined to portray the protesters as a United Argentine people citing against a corrupt and incompetent ruling class. For example, the protesters assembling in the Plaza de Mayo were described by lesion as citizens becoming one, and even academic. Publications use phrases like a true national uprising, or the Argentine people to describe the protests and protesters.

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This is despite the fact that the protest is

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had more of a middle-class feminine urban, an anti-partisan sort of leaning in various in various ways. So together, the high disruption and communication of a negative public opinion left government act as little choice but to at least partially meet the movement and demands. And that's the disruption, unless they want the disruption to continue

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And this was made worse by the broad public support for the movement, and resulted in the resignations and policy decisions I mentioned before.

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So what's the role of musical improvisation. So

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My contention is that the loudness, noisiness, and this sort of Nationalist and Populist identity partially caused or afforded by musical improvisation.

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the large number of people engaged in the protest allowed it to reach such a large volume and cause so much noise, and this mass participation was partially encouraged by improvisation.

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Thomas Tyrina argues that high levels of musical participation can be encouraged when the practice creates a balance between the challenge of the activity and the participants, skills and capacities, and it is often afforded when various musical roles are available to his participants.

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This was true during the protest, because of the improvisatory musical features.

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Protesters had significant flexibility in deciding how to participate, what instruments they could use or

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sound sources practice better. In this case, what's a chant whether they want to join in with the unison rhythm, or they want to improvise their own additional layers, whether to play alone or the to.

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you know, form the unison sort of chance and rhythms, or whether to have more of a sort of sea of noise like I mentioned before, and potentially heard a little bit in the videos.

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And so this resulted in the large crowds and the high high level of loudness and noisiness purely through the sheer number of people that musical improvisation encouraged.

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Another significant way is the

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improvised percussion and various sonic implements.

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 These implements will be perceived as noisy in and on themselves given that they break from their usual typically domestic social functions, but also the sheer variety in these objects created substantial noise through the the clashing of different tambres and pitches and things like that, and then also the musical material of this noisiness to do some prophesying that improvisatory nature.

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while existing melodies, rhythms, and lyrics were adapted to the protest, there was still substantial flexibility and different sections of the crowd of improvising different material. There are many transition sections between material, as I sort of touched on before. There are also moments of just, you know, sort of a wave of noise of people just improvising in their own individual way.

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and then, finally, improvisation also enhanced the Populist national identity by its very nature. These identities require a diverse group of people to be symbolically tied together in music, and the fact that the improvisation allowed diverse participation from many kinds of people, regardless of their skill, level age, level of ability, allowed for that expression of a Populist and Nationalist movement identity.

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So ty it all together

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 in summary

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disruption, and the expression of public opinion can contribute to short-term and long-term change and changes in government and personnel and policy.

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as I sort of showed, the musical improvisation can afford loudness, noisiness, and these sort of Nationalists, Populist identities, and then, in this case, that at least those factors together, at least partially contributed to changes in government officials and also their policy.

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However, beyond this single case, it also shows

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to potential mechanisms and potentially more direct mechanisms that musical improvisation could have on politics.

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See some future work could examine these mechanisms in other cases. But also consider how these more, when I'm considering more direct mechanisms and more direct influence on political actors, how it might combine with other symbolic and cultural factors.

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Obviously the Nationalist and movement identities. Our Nationalist and Populist movement. Identity is an example of how simple, like and cultural factors can combine.

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Of course, in doing this future work, it's important to always understand that how a musical improvisation might lead to political change will depend on this local context and the specific mechanisms in each case.

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Thank you very much. And I look forward to any questions in the later discussion.

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Thank you, Ryan, for your presentation.

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And now we are going to listen to excuse me.

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Hmm.

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Mr. Kerria, about Sansa's music and songs, as sounds in urban plaza, focusing on the anti-war fault singing, gathering in Tokyo. 1,969.

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So please, Mr. Kil, yeah.

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we have 15.

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It's only that.

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of course, of course you can do it.

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 May I just click the

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like the bottom to?

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I move the slides?

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Is it the Aaron? No, you just

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and the arrows. Okay, thank you.

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So good evening, everyone. And my name is Sheena Kitia from the University of Tokyo in Japan

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and Today I will talk about how we can analyze the relation between the and urban protests.

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So first let me briefly introduce myself, and I'm a Phd student in my major East, urban sociology.

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Actually, that QR code is for my card, a biography site research map in English.

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And my interest is in the basically the gatherings of people in urban public space, especially in post war, Tokyo.

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So, for example, like the demonstrations against the Us. Japan Security treaty around the Diet in 1,960, or the kind of annual Halloween gatherings that the famous should be a crossing.

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as you can see on the pictures.

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And especially I'm focusing on the physical aspects of the gatherings of people. So like the the the bodies of people gathering in the place or the architecture surrounding them, or the objects they're utilizing.

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So then, I like to get into my subjects today, and in the last decade we can see a growing interest

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in the street protests.

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and one of the famous examples is the occupied Wall Street movements.

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And so there is a ground interest in the urban space as an important place for political action and revolt.

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And in response to that phenomena. recent studies are now focusing on the spatial

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dynamics of protests, and which means that so they basically analyze how space mediates the collective behavior or the collective political action.

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But when we look at how the music relates to the protests sing along in the protest has been examined as an example of contesting order in public spaces.

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and, for example, according to July the on 2,022

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singing together in urban space, leads to the Al-qaeda reappropriation of the urban space, and which in turn translates into urban belonging and citizenship.

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and the other example is like the Svika and Purdue in 2,014, and which states that the activist singing a song of their own composing at a community plaza leads to the assertion of their spatial citizenship.

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So here, I would say that the previous studies has been examined in the kind of ideological struggle between the singing occupiers and suppressing authority.

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So here, The singing itself is kind of regarded as a resource strategically mobilized for our movement tactics

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and the participants of the single lungs were conceived as active members of moving an organization.

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But here, I'd like to raise a question. because basically in urban space, actually, you cannot always strategically sing songs, because in urban space, where anyone could be there you cannot always expect who would come into your sing alongs. So the password spies could join in, and more radical activists could join in, and also the police could intervene your singleons. And also you cannot control how your voices would sound in urban spaces.

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So which means that how the audience would hear this, hear the songs, or hear your sing alums.

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So my research question from my presentation is that, How the practice of singing by various actors function in urban public space. So my images like this diagram. So here's the singing protesters in the center of the urban space. There's also a pastor spy where all lookers just standing and looking on the sing alongs and morality galaxies or the police of Threed.

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So the case I'd like to introduce you today is in anti-war sing-along protests

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which took place at the Ching of the West exit underground plaza in 1,969,

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and actually the Sinjagu underground plaza was in the premises of this Shinger crew station, which was, and still is, one of the largest hop stations in Tokyo. So you can see the map, and the Shinger crew station is at the west.

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on side of the city center of Tokyo, and a crowd of protesters, and who were against the Vietnam War and other activists, or the just onlookers gathered there without any certain demonstration plan or permit.

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And actually they were called folk gorillas because they played anti-war folk songs with their guitars, and the others surrounding the folk gorillas. They sound together so as you can see on the picture

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at the center of the plaza. Some guys are holding the guitars and playing it, and the others are surrounding them, and also you can see the onlookers just stunning and perceiving what is going on.

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and the gathering was held every Saturday from February until July.

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So Here's the bigger one, and you can see the gorillas in the center and also the the other participants around them, and also the onlookers behind.

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So the stage of the protests. So here I want to focus on the architecture of the underground plaza.

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So originally the Shinggu West exit underground plaza was completed in 1 66, and was designed for the efficient control of the flows of cars and commuters.

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So Actually, the underground plaza was not for the place for people's gathering, but it was for efficiently.

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continuously pushing through the cars and commuters into the other end of the station.

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But actually the folk gorillas regarded this underground plaza as a kind of ideal architecture for singing together. So one of the for gorillas. Oh, gee, sale! She states that. We discussed where we would sing, and that place, which means an under underground plaza, is underground, so we would be protected from rain, and the sound would beautifully resonate.

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So here I like to present the songs of folk music. So what was the initial intention of the 4 gorillas?

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So basically, the folk gorillas on sang the parodies of contemporary folk music at the time, so some of them are the translation of English songs. For example, like the famous we shall overcome, and also they send the Japanese songs. But it was with the lyrics, which was very sarcastic to the Government or police or the self Defense Forces, which is basically the Japanese army. So like, let's join the self defense force.

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And so the intention of the 4 gorillas was that they tried to redefine the folk song as a form of anti-war communication.

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not rather than as a means of agitation or a commercial product. So here's the discussion among the alpha gorillas. So is our folk song a song for itself? Or is it a means of political agitation?

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And the other book guerilla is states that we shouldn't rent a hole and charge the audience a high admission fee. Because what they need for their stage is a plaza where anyone can join, sing, and talk, so they kind of try to democratize the music itself.

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But as the gathering grows gradually, the other esters are jumping into their folk gatherings. so here I like to see the what was the intention of the student Radicals who jumped into the gatherings.

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So the students, activists of radical sects got to try to take advantage of the gatherings as a stage for their own demonstration.

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So they sang the Internationale, and gradually their song, singing voices of international overwhelmed the folk songs of the 4 gorillas

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and the Internationale was kind of representing the factionalism for the vocalist.

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because, according to the journal of the time, originally the 4 gorillas had a hesitation in singing the Internationale, because they think that the International is not a song to encourage the ordinary people.

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It was for the kind of try to unite the already politically activated activists.

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And one of the participant of the folk aerialist states that I felt like if we send internationals, something would be spoiled.

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So, although the student Radicals and the folk gorillas, they share the common ground against Vietnam war itself. But the student radical sects were kind of unwanted by the folk gorillas.

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but other than their intention. We can see the unexpected function function of the singing voices of the for gatherings. So attracted onlookers, rubber next, and even political opponents coming in to participate into their single lungs, and the discussion which led to the unexpected expansion of the gathering.

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So here's the comments by the robbernik, he. I didn't find himself as a robbernik.

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and he stated that the plaza was filled with heat and noise of people, and he followed them and sat on the floor just as they were doing so. Basically, he was just following the other people, and also the news article states that the low ceiling of the underground plaza functioned as a huge stereo.

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So the folks, so folk seen by the folk gorillas were heard as a kind of howling sound which failed the whole underground space without caring much about the political intention of the gorillas or the other activists.

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So here we can see the kind of unintended appropriation of underground plaza with sounds. So there are voices and sounds which is basically a physical entity

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was acoustically occupying the underground space, and so that they realized what it seems to be the collective occupation of urban space. Despite the fact that they are kind of ideologically on different. And there was a kind of discord among the people gathering there.

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But actually, eventually the gathering was suppressed by the police. So

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here we can see the auditory suppression by the police. So some of the passenger spies are really antagonistic to the folk gatherings. because, according to the news article, they're obstructing the passing lanes, and they're disturbing the people talking on payphones in their Androman plaza.

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So if our hostess. states that that's not a song. They're just noisy. And another mother with a child states that we don't share any common feeling with them, which means, if a girl is

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so here their songs were conceived as a noise kind of noise, which was, and which provided the police with enough reason to suppress the gatherings.

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And what is interesting is that the How the police suppressed the the plaza because The riot police eliminated anyone who tried to stop in the plaza, but at the same time they utilized the kind of loudspeaker to announce that announced in order to people to keep walking so like this is not a plaza. This is a passage to not stopped. So As you can see on the picture. you can see the loudspeaker hold it by the police

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officer and police capture the urban space by kind of replacing the sound of folk music with a sound of loudspeaker.

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So here it's my conclusion. And so my conclusion is like to how to perceive the music as physical, sound or physical entity.

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So actually, the music is first and foremost sound, which is physically echoing in a certain space.

409
01:27:45.010 --> 01:27:55.669
So by the by, the focus, the music was the kind of means for communication to communicating and to our message.

410
01:27:55.700 --> 01:28:13.369
But for the student Radicals coming from the radical sex, and they are joining in the gatherings for them. The music was first and foremost a partisan song for agitating the their colleagues or their other politically already activated activists.

411
01:28:13.700 --> 01:28:27.270
But actually, from the point of view of the onlookers or the rappernex, the the whole sound was forming an exciting sound which acoustically occupies the space.

412
01:28:27.300 --> 01:28:42.250
and without care much about the political intention of the folk girl is, or the student Radicals. But for the police or the other antagonistic passers by, their singing was just a noise which should be eliminated.

413
01:28:42.620 --> 01:29:04.980
and they and also the police try to utilize the sound in very different ways. So They use the loudspeaker to announce the people, and so that they could kind of replace and take over or kind of reclaim the underground space. with the announcement by the loudspeaker.

414
01:29:05.110 --> 01:29:16.110
So here we can see the kind of unintended battle over urban space among multiple actors, and that unintended battle was fought with the sound itself

415
01:29:16.440 --> 01:29:21.749
and the tension. Here we can see the tension among the there's actors in

416
01:29:21.810 --> 01:29:38.169
gathering in the urban underground plaza, and which was made visible or more literally audible in the urban underground spatiality. So it has to be a underground plaza, because, you know, they sound what, how? And echoes in that underground space.

417
01:29:38.450 --> 01:29:43.029
So The single and protest should be.

418
01:29:43.270 --> 01:30:01.220
I would say that analyzed in relation to the urban stability itself, which means it? What is the architecture of it? Or what is the spatiality of it, and also the other actors which includes the onlookers or rapportex, or the other group of activists.

419
01:30:01.480 --> 01:30:06.579
yeah. So here's my presentation, and thank you very much for listening.

420
01:30:12.920 --> 01:30:14.759
I'm going to send you the pictures.

421
01:30:17.980 --> 01:30:19.790
Thank you very much.

422
01:30:20.150 --> 01:30:22.720
So Wait a minute.

423
01:30:24.400 --> 01:30:25.850
Here, here have

424
01:30:28.580 --> 01:30:31.650
 I can see now.

425
01:30:32.220 --> 01:30:35.910
and  you

426
01:30:36.500 --> 01:30:40.650
 Just now

427
01:30:41.610 --> 01:30:45.450
I am the only one here at the zoom session.

428
01:30:46.320 --> 01:30:49.910
Maybe you can still share my everyone.

429
01:30:50.190 --> 01:30:52.100
Yeah. true.

430
01:30:53.430 --> 01:30:56.600
No, there are more people. So

431
01:30:56.910 --> 01:31:13.930
 it's just me. not the gallery. I don't know. Well, whatever the point is that we can have a discussion now. So if you have a question or

432
01:31:14.290 --> 01:31:18.880
want to share some idea or feeling.

433
01:31:18.900 --> 01:31:26.689
please go ahead and raise your hand, even those who are and at you you can do it the same at least.

434
01:31:29.790 --> 01:31:32.890
What a nice guys that are taking the table! Thank you.

435
01:31:34.840 --> 01:31:35.870
Nobody

436
01:31:37.280 --> 01:31:41.479
any questions, any comment. Maybe here at 2.

437
01:31:45.190 --> 01:31:46.250
Okay.

438
01:31:47.830 --> 01:31:49.100
okay.

439
01:31:50.530 --> 01:31:53.980
So there is no question, no no discussions about this.

440
01:32:00.220 --> 01:32:07.270
even if you can discuss it between yourselves. If you have any idea of

441
01:32:08.730 --> 01:32:13.660
these cool, if you get it started.

442
01:32:15.530 --> 01:32:19.070
Because they that my. yeah, these were

443
01:32:20.120 --> 01:32:29.290
to you about the public expression of music. Why you separate description and expression? Because I could say

444
01:32:32.220 --> 01:32:39.210
description go to expression. We can move to this particular expression if I allow the volume disruptive. Whatever I'm expressed.

445
01:32:39.350 --> 01:32:48.340
So I'll give you an hypothesis. The new technology of music. big song. Hello, to be descriptive.

446
01:32:48.370 --> 01:32:54.710
But you do not immediately the cultural modulation of expression.

447
01:32:56.220 --> 01:33:01.460
Yeah, do you agree on that? Because I think for jazz, it will be the same, but not with the same technology.

448
01:33:02.290 --> 01:33:03.710
African beat

449
01:33:04.120 --> 01:33:07.290
represent African voice a description.

450
01:33:07.710 --> 01:33:14.080
and after the style of jasmine, it will find a modulation between. I was thinking of a

451
01:33:16.110 --> 01:33:17.700
on the fridge as a

452
01:33:18.390 --> 01:33:20.500
if we just pay on the description. Yeah.

453
01:33:20.590 --> 01:33:27.059
So what you separate. you could as a pot of junction. But after after mastering the technology.

454
01:33:29.040 --> 01:33:34.890
yeah. sorry. Just to quickly clarify when you say like description.

455
01:33:35.190 --> 01:33:40.990
like what? Which? What exactly are you referring to like when I talked about

456
01:33:41.030 --> 01:33:45.609
like the textual descriptions of music? Is that sort of what you mean, or.

457
01:33:51.830 --> 01:34:04.280
yeah? Well, I mean, in the particular case of the cassava. So there was sort of descriptions of the music in things like newspapers and things like that. There was

458
01:34:04.590 --> 01:34:05.400
like

459
01:34:05.520 --> 01:34:28.109
television footage of the protests and things like that. And definitely, those descriptions of the music and of the protests further enhance the political impacts. Because and this is also back in 2,001. The protests were obviously tied to specific locations, especially certain cities.

460
01:34:28.260 --> 01:34:42.420
and one way of extending the influence of this process was how they were depicted in the media and newspapers in footage, like I was sort of talking about before, and that did really help

461
01:34:42.770 --> 01:34:50.489
moving beyond, even though there was still an emphasis on sort of the urban population, the cities where the protests. Really.

462
01:34:50.560 --> 01:34:51.930
we, the largest

463
01:34:52.050 --> 01:34:55.650
there's other media depictions

464
01:34:55.710 --> 01:34:57.120
for descriptions

465
01:34:57.400 --> 01:35:08.940
extended the influence beyond just those local locations and kind of helped. Yeah. Helped it from my understanding of what I've read, at least helped to become more of a portray itself as a national movement.

466
01:35:09.190 --> 01:35:11.610
You know of the people supposedly.

467
01:35:11.620 --> 01:35:19.279
and like I said, that kind of is part of the power of the protest was, it was perceived that way and that affected the government actors.

468
01:35:19.330 --> 01:35:25.960
decisions, and the policies and the resignations like I was talking about before. Does that sort of answer your question?

469
01:35:26.550 --> 01:35:31.160
No, I read the main intention in the I'm not as to switch.

470
01:35:34.900 --> 01:35:52.640
Sorry I got what you mean. Now, yeah, yeah, I guess I would. Yeah, so definitely, the music was just one component of it. There were many signs. There were many chance where the lyrics were talking about like there was a common chant which was like to remove every sort of

471
01:35:52.710 --> 01:36:04.609
the ruling elite all the official stuff like that. and I guess part of it is the time I had. But I was. I should probably make clearer that I was just looking at one aspect of the protest. There are many other

472
01:36:04.870 --> 01:36:14.880
aspects as well, such as the lyrics of the chance, the messages on the placards that they had. Like you said, it is a sort of form of political communication.

473
01:36:14.920 --> 01:36:20.129
and I think the music can contribute to that message to the political actors.

474
01:36:20.250 --> 01:36:31.889
And like, I said, like this, the symbolism of the loudness and noisiness of the protest is like, contribute to that political communication, and I think all these various.

475
01:36:32.180 --> 01:36:35.690
you know. Threads, I guess, come together to

476
01:36:35.750 --> 01:36:39.079
strengthen the sort of overall message of the protests. So

477
01:36:39.120 --> 01:36:41.209
yeah, that's for my.

478
01:36:42.220 --> 01:36:43.180
thank you.

479
01:36:43.440 --> 01:36:46.420
Is there anybody? Go ahead, please.

480
01:36:53.390 --> 01:37:04.539
Thanks for the really fascinating presentation. So I have a question for Xian Kay and Ryan. So both of your papers. Presentations seem like they were working in the same in a very similar space.

481
01:37:04.740 --> 01:37:15.120
And so I have 2 questions for you. One, it's like, How did. How do you guys come to arrive at your particular case is as an example of whatever across social process you want to choose.

482
01:37:15.200 --> 01:37:29.779
and 2 is, I guess I'm not. I'm very used to think about music in the context of, you know, the cultural industries we come to the production consumption of music, whereas the kind of music that you guys are talking about seems a little bit different. I was wondering to what extent.

483
01:37:30.150 --> 01:37:36.670
with a cultural industry involved at all in the respective cases you were dealing with.

484
01:37:39.960 --> 01:37:41.890
Yeah.

485
01:37:42.430 --> 01:38:00.820
thank you very much for your question. And for the first part, yeah, because Originally, I'm an urban sociologist, and so my interest is in how the people can occupy the space which means that how can people transform this space

486
01:38:00.960 --> 01:38:02.570
which

487
01:38:02.700 --> 01:38:16.799
which originally not intended for the gathering of people. So When I look at the examples of that kind of gathering the my my example of the Shinjuku-s Xandrium station was really

488
01:38:16.850 --> 01:38:35.969
 quite a symbolic event, which is very famous for a certain generation in Japan, because originally it was totally a station. So he there! It's not for the dedicate for the people's gathering so, and beside that

489
01:38:35.970 --> 01:38:52.659
like the commuters or the business people, or the other kind of everyone who are using the station is gathering there. So that's part of the folk gorilla's intention, so they could meet with the really diverse people which are living in the city.

490
01:38:52.750 --> 01:38:55.990
so yeah. So

491
01:38:56.020 --> 01:39:05.680
so that's why I kind of ended up in focusing the ginger, the station example? so how people can

492
01:39:05.920 --> 01:39:10.750
actively but not intentionally. So it's kind of really

493
01:39:10.850 --> 01:39:18.779
more like a happenings than a planned or organized event. It is really

494
01:39:18.850 --> 01:39:29.120
no, nobody could kind of expect what what would happen. So Even the 4 gorillas didn't expect that the gathering would expand in that scale.

495
01:39:29.210 --> 01:39:43.379
So yeah. So that's my. That's why I focus on that kind of example. And the second part. Second, your question. yeah. The the music industry really. kind of

496
01:39:46.230 --> 01:40:07.820
relates to the gap for gatherings, because at that time. The American folk songs are really imported through the on TV or radio, or they kind of record companies, so that Japanese students at the time are really kind of familiar with the folk music, and it was really

497
01:40:07.820 --> 01:40:19.230
receipt as a kind of Pop song. For the most part of the student. So that's why the folk girl has tried to decommercialize the folk music itself.

498
01:40:19.290 --> 01:40:24.369
So every every students who are who can afford

499
01:40:24.550 --> 01:40:34.680
the guitar could play the guitar and could play the folk songs at that time. But actually many of them are playing the folk songs

500
01:40:34.700 --> 01:40:41.279
for not a political message. So they're just on singing the really

501
01:40:41.370 --> 01:40:55.220
non-political, quoted and everyday lives, like the loves or other solar things. So the folk girl is trying to really radicalize and try to make shock out of the people.

502
01:40:55.470 --> 01:40:57.279
be it by

503
01:40:57.300 --> 01:41:10.459
singing the folk music. So there is a really a tension between the music industry and the Fo gorillas itself. But actually, when we look at the example, maybe I could say that

504
01:41:10.680 --> 01:41:13.070
the 5 gorillas could not

505
01:41:13.240 --> 01:41:19.760
 completely resist the cloud of commercialization, of the music industry, because

506
01:41:19.890 --> 01:41:26.700
but actually, I think that has really  

507
01:41:26.830 --> 01:41:29.149
So if you try to

508
01:41:29.350 --> 01:41:41.719
expand the gatherings, maybe you have to involve the other people who are not originally interested in the political discussion.

509
01:41:41.870 --> 01:41:44.670
So although there

510
01:41:44.820 --> 01:41:52.600
political gathering was received by the people, not in a way, they are expecting at the first time. But

511
01:41:52.670 --> 01:41:57.099
actually. yeah, we can see that kind of

512
01:41:57.440 --> 01:42:03.759
tension. Or maybe the unintended communication between the music industry and the films.

513
01:42:05.910 --> 01:42:10.650
Thank you. Anyone else. please.

514
01:42:12.530 --> 01:42:14.449
Yeah, you can take these mic.

515
01:42:14.870 --> 01:42:23.449
No, I think I think the question was for for both of us as well. Just just briefly for your question. because he asked about how he came up with the or how I came up.

516
01:42:23.900 --> 01:42:32.449
or how I arrived at that music. I was interested in music and social change and specifically musical improvisation.

517
01:42:32.540 --> 01:42:47.830
I was looking at protest. That featured musical improvisation. and I think initially, I found kind of a Canadian version of the same practice. And then, looking through the history of various incidents of Castle Lazar.

518
01:42:47.840 --> 01:42:55.479
I thought that the the version during this sort of financial crisis would be sort of the most impactful one to look at

519
01:42:55.780 --> 01:43:13.710
and in terms of the culture industry. I haven't looked too much about the engagement between the protests and the culture industry, but I do know that during the protests themselves they frequently sort of made use of existing songs, like they often used

520
01:43:13.770 --> 01:43:17.139
sort of football chance, and like the whole sort of

521
01:43:17.400 --> 01:43:22.770
the norms around football chance, and the fact that was an existing practice

522
01:43:22.799 --> 01:43:35.969
sort of helped ease them into the sort of the frame of participating in this protest. So yeah, I haven't. I haven't looked too much about the culture industry, but it did make use of existing culture.

523
01:43:36.059 --> 01:43:41.470
 And I would argue, enhanced the sort of effectiveness and

524
01:43:41.780 --> 01:43:45.750
encouraging that mass participation due to the existing culture.

525
01:43:45.809 --> 01:43:57.450
which is fairly common in improvisation as well. Sort of making use of existing lyrics, maladies, rhythms, whatever from various improvisatory styles. So yeah.

526
01:44:07.230 --> 01:44:14.370
Hi, so I'm Gail Gaviaras from the High University of the Philippines, and my question is directed to this. I.

527
01:44:14.370 --> 01:44:39.269
So I'm particularly interested in. how you touch on the topic of the subjectivity of artists influencing the a popular conception. So I wish it. It. It also reminded me of adornness work on the critic. And in this critic of jazz, and how jazz artists are actually working within the limits of the code

528
01:44:39.270 --> 01:44:59.320
culture industry. So I was just curious on your thoughts, on how much do you think of chain is where it comes from? A critic of the society of the the the Empire? Or is it coming from an Inc. Of economic imperative, of like living off as an artist? Yes, thank you.

529
01:45:00.910 --> 01:45:10.179
Thank you so much. That is a really wonderful question that I think gets at the tension and the conundrum of this entire genre of music.

530
01:45:10.270 --> 01:45:21.659
For me. It's like my interest in particular actors within this genre of exotica who are clearly being marketed in these really racist ways. So I don't know how much.

531
01:45:21.780 --> 01:45:33.020
You know there's there's not that much known about Leon Johnson, Aka Chaino and his. I haven't been able to dig up a lot of biographical detail, but

532
01:45:33.299 --> 01:45:41.289
I think I want to hold up. Hold out the possibility of some space of resistance, even if it was

533
01:45:41.540 --> 01:46:01.139
 subtle, you know, I mean, he was clearly marketed in this way to to erase his African American subjectivity, and instead kind of kind of retreat, these old colonial nineteenth-century sort of stereotypes.

534
01:46:01.360 --> 01:46:09.410
But you know. I I wonder about names like the choice of the name Chaino, or the the kind of

535
01:46:10.180 --> 01:46:20.440
I I don't know like, what was it his idea to to title this some of his songs mau right to kind of

536
01:46:20.540 --> 01:46:29.390
shed some light on or invoke this form of resistance, so I don't know. I think the work I'm trying to do.

537
01:46:29.610 --> 01:46:34.259
On one hand, this genre of music is really throw away a lot of it's

538
01:46:34.410 --> 01:46:48.150
it's not really taken very seriously. but my, my whole thing, my whole approach, is that I think there's a it's it's actually really rich. And when you start to look at some of these individuals like chain or corl upended, or others.

539
01:46:50.150 --> 01:46:58.170
there's some. They're working within a really kind of confined space. But maybe there's a possibility to read

540
01:46:59.060 --> 01:47:00.800
resistance or

541
01:47:00.870 --> 01:47:04.389
at survival. Certainly resistance may be.

542
01:47:06.100 --> 01:47:08.399
Thank you. Go ahead, please.

543
01:47:11.210 --> 01:47:12.970
It's a long but

544
01:47:13.010 --> 01:47:15.610
ran right

545
01:47:15.750 --> 01:47:24.659
right? Right? Right? Thank you very much for the presentation. This is for Sheeny. I'm called from Griffiths University in Queensland.

546
01:47:24.680 --> 01:47:33.699
it's just I'm just curious about because you presented something about Shinjuku station in 1,969.

547
01:47:33.750 --> 01:47:57.149
And I'm just wondering what? How is it seen now? And is it still being used for such processes, such in dynamics. because in the Philippines we have the the. It's a famous. It's a where a protests were made during 9 seventies and eighties, and it's still a site for such activities.

548
01:47:57.160 --> 01:48:06.880
I wonder if what happened to Shinduku in relation to protests and music making

549
01:48:06.990 --> 01:48:09.730
after this 1969 event?

550
01:48:11.560 --> 01:48:17.340
Yeah, thank you very much for a question. And regarding the aftermath of the station.

551
01:48:17.370 --> 01:48:25.109
basically, the gathering of that scale did not. Or it's not happening anymore.

552
01:48:25.130 --> 01:48:32.900
 there. So the interesting part of the story is that the police changed the name of the space

553
01:48:32.930 --> 01:48:36.760
from the underground plaza to the underground passage.

554
01:48:37.040 --> 01:48:43.089
So yeah, they find that the space it's actually.

555
01:48:43.300 --> 01:48:47.010
I mean I mean it.

556
01:48:47.170 --> 01:48:54.039
in a in a law this space was registered as a as a road.

557
01:48:54.260 --> 01:49:11.059
so so that that also provided the police to reason to, or the background legitimate background to suppress together. And because it's it's the road. So you should walk. So you you cannot stop there because you're obstructing the transportation.

558
01:49:11.180 --> 01:49:14.569
So they changed the name to passage.

559
01:49:14.610 --> 01:49:34.979
and the folk gorillas are removed to the other parks or the other open spaces around Tokyo, but actually, gradually, after 1,900 seventys, or 1,900 eightys, the the protest movement itself in Japan has really declined.

560
01:49:35.110 --> 01:49:36.820
So

561
01:49:37.470 --> 01:49:48.910
They cannot use the Shinjuku underground plaza, but at the same time the people try to occupy this space themselves

562
01:49:48.940 --> 01:50:04.219
are kind of really declining and declining, but actually one of the third gorillas I introduced you in my presentation. Her name was O. Kiseko and Okisako. Still.

563
01:50:04.470 --> 01:50:05.480
I mean

564
01:50:05.710 --> 01:50:18.059
 continued her standing after 2,003, because there was a Iraqi war, and she somehow

565
01:50:18.200 --> 01:50:23.269
hold the connection between her colleagues in the in the movements.

566
01:50:23.290 --> 01:50:42.529
So She felt she had to do something about the Iraqi war. So She gathered the other friends or colleagues to stand in the in the same underground plaza. But actually, it's not big as the the one in 1,969,

567
01:50:42.550 --> 01:50:43.830
and

568
01:50:43.920 --> 01:50:49.700
I think because after 90, especially after the 1,900 ninetys, or 2 thousands.

569
01:50:49.710 --> 01:50:58.509
they, the protest movement itself is really declining. So police did not

570
01:50:58.580 --> 01:51:03.859
consider the space as important as it is in 1,969.

571
01:51:03.940 --> 01:51:10.749
So that's why The orchestra could continue to do a stand after 2,003.

572
01:51:11.630 --> 01:51:12.780
Yeah.

573
01:51:14.800 --> 01:51:18.740
thank you. We have one more question from the zoom.

574
01:51:18.930 --> 01:51:41.739
hi, Cen, thanks for the talk very interesting. I am interested in the interaction negotiation between police and activists. If the police define the songs as noise, whether the active is negotiated with the police, or strategically changed their ways of protest or waste of singing sums.

575
01:51:41.800 --> 01:52:09.559
It's more or less a question. I'm I'm just reading it. Yeah, I I can read it again for you. Sorry I I missed it. I'm sorry. Thanks for the talk. Very interesting. I am interested in the interaction negotiation between police and activists. If the police define the songs as noise, whether the active is negotiated with the police or strategically changed their ways of protest or ways of singing sucks.

576
01:52:09.710 --> 01:52:14.639
Yeah. thank you very much for your question. It is a real important point.

577
01:52:17.790 --> 01:52:22.580
So So 2 of the 4 gorillas were arrested.

578
01:52:22.760 --> 01:52:29.359
and because they are conceived as breaking the law of transportation in Japan.

579
01:52:29.540 --> 01:52:42.049
and and so they had to go all the way to the trials, and they had to fight over their rights to gather. But the other people?

580
01:52:42.160 --> 01:52:47.279
so basically, the 4 gatherings was consists of the

581
01:52:47.420 --> 01:53:16.879
people, not just the folk gorilla, but also the onlookers and the rapper necks, and so on. So it was like the really A tide of movement itself was kind of vanishing after the 1,969. So some of the 4 gorillas are continuing to sing along in the other park in Shinju, so they had to kind of take permission from the police and stand there.

582
01:53:16.980 --> 01:53:20.150
So actually they kind of

583
01:53:20.360 --> 01:53:27.390
I I don't. I I'm not sure whether I can say it as a as a

584
01:53:27.830 --> 01:53:28.990
as a

585
01:53:29.230 --> 01:53:52.090
 communication or the you know, negotiation? Yeah, yeah, that's right. Yeah. Negotiation with the police? but they somehow try to find the ways to continue their movements in their own way. And the Ok. Sale sending again there from 2,003

586
01:53:52.090 --> 01:54:06.649
we can. We can. Of course, we can say that. Her way is also a kind of negotiation with the urban space, or the police of 30 to stand against and continue their their movements. Yeah.

587
01:54:07.370 --> 01:54:19.949
thank you. Well, we're running out of time. So I must. finish this, but I'm going to give a few few short

588
01:54:20.050 --> 01:54:49.779
the ending message. I'm very glad to have you the the 3 here and Mr. Green good and online. Thank you. I'm very glad to have 2 sessions of this music and society topic. I think that we have many things to say about music, Hannah. Thank you for being here also. I I'm gonna talk with you later and please keep in touch because we, the music sociologist

589
01:54:49.830 --> 01:55:05.919
are, sometimes like under view, and we need to make more, more, more noise. Excuse me, and that's all. Thank you for your presence here, and have a nice night here at Melbourne. Thank you very much.

590
01:55:12.790 --> 01:55:14.750
Thank you, Mr. Greenwood.

591
01:55:15.980 --> 01:55:16.000
josephgreenwood: Oh, thank you, thank you, for it's very good. It's really.