Whose Music, Whose Country? Music, Mobilization, and Social Change in North Africa

Bibliographic Data

ID3750375
AuthorsRobertson (0000-0002-3591-2494), Robertson Robertson (corresponding author)
Year2015
Volume5
Issue1
Pages66
Publication date2015-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueAfrican Conflict and Peacebuilding Review (JOURNAL)
Journal identifiersISSN: 2156-7263 • E-ISSN: 2156-695X
PublisherIndiana University Press (PUBLISHER • US)
DOI10.2979/africonfpeacrevi.5.1.66
OpenAlexW1043565329
LanguageEN
Citations received3
References cited17

Social change began to rapidly emerge in many North African states in 2011 and 2012, and this process continues today. Music has been embedded within this process from the beginning and has been a key feature in street protests and expressing group identity that opposed the status quo at the time. The situation has since become extremely complex as group identities have split and merged, but in the early days of social change in Egypt, Tunisia, and Libya, music was used by professional and amateur musicians as well as non- musicians for several purposes, namely, to express a more generalized group identity, to capture the moment of the protests, and to propagate information about the situation to a wider Arab diaspora and gain support from them. Conversely, the state also used music at this time as a form of social control by promoting music that was uncritical to marginalize the challenging music

Aesthetics · Amateur · Art · Collective identity · Diaspora · Media studies · Political science · Politics · Social change · Social group · Social identity theory · Social science · Sociology · Status quo · Caribbean and African Literature and Culture · Cultural Identity and Representation · Gender Studies · History · Law · Public Spaces through Art

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