Bloomington Contra-Dance

Contra-dancing is a wonderful event that brings people of all skill-levels together in music and dance. It represents the power of a participatory event as our whole class had an incredible time despite our newbie status. I thought Bloomington contra-dancing was a fun experience unlike any dance I've ever been to. Everybody was very welcoming, offering their experience to help guide us through each of the dances. Nobody was annoyed that we did not get a particular step; in fact, one many told me his only rule was to not be sorry if I happened to mess up. Contra-dance was all about the experience and the gathering of people looking to have a great time. I felt very welcomed and very excited to try out something new. The steps were relatively easy, but, even when I stumbled, I just went with it and nobody seemed to mind. The event was not competitive, and I did not see anybody try to outdo one another. If somebody had more experience, they embellished a bit to the admiration not envy of others. Everybody joined together despite experience level, eliminating any hierarchy or divide that could create inhibitions in me. I did not feel self-conscious at all because of the participatory atmosphere thus making the event even more of a blast. Compared to high school or even college party "dancing," this made me much more comfortable if I were to do something wrong or misstep from what others were doing. It was different than a dance team performance as it was not for the perfection of the moves but the experience of dancing with others. The dancing joined everybody in the line together, creating a closer bond amongst everybody rather than a waltz or tango that involves only a couple. This allowed everybody's potential involvement and inclusion. 

If I every had a slow Wednesday night and was bored with my friends without something to do, I would definitely drag them to the contra-dance. It was a very fun experience to just dance and be together with others in an informal yet lively sort of way. I would also love to see how a different caller would lead the contra-dance with a big group of beginners. 

Participatory music making values inclusion, connection, the experience, and the contribution of everybody. It allows people to come together to connect through music whether clapping, dancing, leading, singing, or playing an instrument. Because participatory music is not about showcasing particular talent, everybody has the opportunity to be involved. It is democratic, not hierarchal, and open to everybody willing to join. Participatory events and music is fun and allows the best potential to reach communitas because doing something with everybody allows a deeper connection than just viewing something presentational. Doing something together as a community without underlying competition are some of the values of participatory music still relevant in participatory action. This action works to reflectively and collaboratively gather a community in democratic action though with a soundness of thought. It engages the same values of collaboration, community, and democracy thus making participatory action a perfect method for social change.

The Punks are Alright

Youth culture in the United States comes with the shared struggle of finding identity, coming to terms with maturity, and facing pivotal life decisions of becoming an adult. Finding a way to express yourself through talents, hobbies, music, sports, or academics gives youth an outlet and mode of exploration for identity. Body image, self-image, and trying to fit in are all a huge part of maturing. Coupling these universal teenage struggles with the environment and hardship faced by youth culture in Indonesia and Brasil, my trivial problems of where to go to college or how I am going to pay for gas become embarrassingly inconsequential.

I am incredibly fortunate to have been adopted by loving, stable, and generous family. I have experienced such little hardship in my life to the point that it is hard to truly fathom the poverty and disparity of people like Dolly to my own experiences of misfortune. I grew up in a Chicagoland suburb where streets were safe at night, bad crime was underage parties or shop-lifting, and ACT scores averaged in the upper twenties. I have never had to worry about finding food for my belly and was never concerned that I could be limited by my lack of education or opportunity. Hearing stories of child soldiers in Africa, the genocide in Rwanda, stories of the children in Brasil, or factory workers in Indonesia is a slap to the face in my own little world.

Dolly discusses the efforts of four hour travel he takes to go to his factory job with an abusive boss all for only $2.65 a day. His earnings are not even for his own personal funds but to help support his family. He says he is lucky to have this job despite the hours, travel, and tiny wage. His gratitude suggests the widespread poverty and unemployment as well as the lack of labor laws. The corrupt government of these third world countries care more for the financial incentive of letting big companies build factories without labor or environmental restrictions. While these lack of limitations encourage horrible conditions and the debasement of quality of life for the majority of  workers, the people view it better than nothing and one of the only ways to survive. Hinrike talks of the drug cartels in Brasil, saying most kids on the streets will end up with the cartels if they do not find something to do. He speaks of the school his community helped build in order to provide some semblance of opportunity for children. This school is constantly targeted by cartels and never safe at night. The school, like punk, is their way of "doing it themselves" and rebelling against the system. It hilights the sad ways of living for the children as their only good meal may be from this school that grows its own food. Hinrike pushes kids to start a band to stay away from cartels. He shares his experience of turning to punk and everything it encompasses, telling kids to find an outlet in music to find an outlet. This expression of rebellion against society is embodied in his music as a part of the Blind Pigs. His music provided the inspiration to kids like Dolly who calls punk "the remedy to his sickness."

Hinrike continues to explain the religious conventions of Brasil and how he does not like to associate with Catholicism because of the hypocrisy and judgment coming from its followers. In Indonesia where Islam is the most prevalent, many people struggle between Islamic orthodoxy and the advertised conformation to Western ways. These political and religious factors in Brasil and Indonesia thus provide an oppressive environment for youth culture as they struggle to identify with something that may give them hope amidst their disparity of opportunity.

Because of my good fortune, it is so hard to truly comprehend the extend of Dolly's situation. Any job I have was for my own personal spending, I never had the huge responsibility for somebody other than myself as a teen. If I had not been adopted, I wonder if my own outlook would follow along the same lines at Dolly. It is eye-opening to become more aware of global youth culture in comparison to mine because it allows me to appreciate my opportunities and inspires me to use my opportunities to help people suffering just as Dolly. I respect people like Hinrike who build schools and spread their message through music for the betterment of others. He is an inspiration for DIY, as he saw the problems in Brasil and made a collaborative effort to create a solution.

Despite the difference of magnitude in my young-adult struggles, I can connect with Dolly as he struggles to make the best of his situation. Just as Dolly uses punk and the Blind Pigs as an outlet against the system of capitalism, I use music and art as an outlet against my frustrations. Painting by myself with my music as loud as I see fit gives me a satisfaction and sense of control whenever my parents, academics, or friends get me down. It is something I have for myself, my own "remedy" for whatever ails me. In this way, I can relate to Dolly to some extent.

As a human connected to every other human in the world, it is my duty to be aware. Dolly worked at a Nike factory making shoes that I may have bought thus making me a part of the system that essentially creates the poverty that Dolly experiences. By supporting the businesses that go into third world countries and exploit the lack of labor laws and environmental restrictions, I am making an impact on the low quality of life in these areas. While these factories are a source of income for people like Dolly, the broader pictures provides little hope so long as first world capitalism feeds off countries like Indonesia. Spreading awareness of these conditions can thus inspire consumers to shop elsewhere which can then cause companies like Nike to build their factories here at home. This would allow our money to circulate in our own country and possibly stimulate our economy while forcing Indonesia to be accountable for themselves and their people. These long term effects would be beneficial for both parties and it all starts with the consumers, people like me. While I can not realistically change the world the way I want in one night, I can make conscious decisions that will help the global community. Like Hirike's act of kindness as he sent Dolly his CD, I can share acts of kindness and hope to make an impact one person at a time. The things we do, the ways we live, and the decisions we make in our capitalistic society all affect others locally and globally. These punk artists are an inspiration to make collaborative efforts to find solutions rather than waiting for the system to change itself. In this way, I can relate to punk artists who actively confront and rebel against oppression as I try to continually make it one of my own orienting principles.

Bloomington Farmer's Market

With an open-air venue, vendors from all around, and no exclusion of age, ethnicity, or gender, the Bloomington Farmer’s Market thrives as a participatory gathering for the community. Everybody is welcome to attend this outdoor market as is evident by the different mothers, fathers, children, students, pets, grandparents, and occasional nomad. Elderly women gathered by their grandchildren or husbands as they carried their basket during an honored tradition. Children ran around with flowers, balloons, or sweet treats in their hand as they danced to the music or stared wide-eyed at the vibrant fruit colors. Students banded together, browsing the jewelry selection and smelling the soaps. The vendors stood by their tents, answering questions or greeting familiar folks. The buyer-seller relationships were more like friendships as people felt a community connection in the friendly and bustling atmosphere. Strangers co-mingled and joined together in their food buying amidst the variety of musical styles. There was no lack of noise and no disconnect between people.

The farmer’s market catered to everybody of all ages. There were drums, solo guitarists, a tap dancer, a blue grass band, young students playing violins, a man playing the banjo beside and elderly man with his trumpet, and two young boys with a bass, guitar, and harmonica. The musicians shared their talent in different musical styles, getting there early in the morning to reserve their spot. The tunes were family friendly without derogatory or crude language.

Produce stands housed tomatoes, corn, cucumbers, watermelon, peaches, and other colorful fresh delights. Plants and flowers were scattered around in stand, gorgeous sunflowers beside the fruit and vegetables. Homemade hams, syrups, beeswax, and fresh meat were also placed around the produce. Baked goods and prepared foods were available nearby. The produce was all fresh and home-grown, and the meats were advertised free-range animals or grass-fed. Toward city hall, there was an area for arts and crafts. Different pottery, jewelry, sculptures, and other projects were being sold. On the other side of city hall were different political booths, local business promotional stands, and an IU theatre booth spreading info to each passersby.

Within the hustle and bustle, general patterns arose. Families tended to stick together as they navigated through the crowd. The mothers were usually buying the food while the fathers held on to their kids and bought products. Many families and students were attracted to the prepared sandwiches, baked goods, and coffee, saving the produce for later. They would usually eat this food around musicians, letting their children dance to the music or listen close by. Families thus gravitated towards the music and fountains to keep their children entertained rather than bringing them toward the political and promotional booths. Elderly people, on the other hand, moved more freely around with their baskets and bags. They are well-seasoned, going to the vendors they liked and have developed relationships with over the years. The elderly as well as middle-aged adults without kids were more apt to hang around the political booths, talking to people running for office or promoting a local business. People walking with their dogs gathered around the outskirts, away from the edible produce, as they waited for their family member to bring back food while they socialized their puppies or lingered by the music. Regardless of age, ethnicity, or gender, everybody found a place in the market setting. It was a friendly and welcoming environment that allowed everybody to participate and take an active role.

In many ways, the farmer’s market is very similar to participatory music. Everybody is welcomed, encouraged to interact, and brought together in a community setting. There was little social disconnect as age, gender, societal status, and other social distinctions mean little in the market setting. Whether buying, selling, dancing, talking, eating, or listening, nobody is excluded. There is minimal hierarchy and no over-looming presence of capitalistic business. While vendors are trying the make a living with their sales, they care more about their passion for their product and the relationships they build with their buyers than making the sale or extra profit. Participatory music and the farmer’s market are both for the experience and communal connection. While people may be doing different things in each (dancer, musicians, clappers, and others in music and buyers, listeners, eaters, sellers, and others at the market), everybody is there to share in the moment and experience as one community.

Four Fields of Music Making

{Participatory}

Ghanian Gourd & Drum Ensemble

This gourd and drum ensemble represnts participatory music without distinction between artist and audience. There is no one person valued higher than another as each person is contributing and "doing." The purpose of their music is not to impress an audience with talent but to collectively join together in song. This Ghanian gourd and drum circle is a form of social bonding filled with repetive rhythms, collective singing, dense texture, and intensive variations. The song has no distinct beginning nor end, allows everyone to contribute, and represents no solitary showcase of exceptional skill.

Participatory music essentially values the social bonding aspect of music as it includes everybody. It is not judged by the quality of the sound but the level of participation by those involved. As no one person is valued more than the other, it is democratic, uncompetitive, and without definite hierarchy. It values the shared feeling amongst one another allowing the potential for true communitas. The music is not made for profit and is not expected to create a fan following nor world fame. Instead, it gathers people together to share in mode of expression regardless of ability.

{Presentational}

 LIVE in Rio Coldplay

This performance by Coldplay in Rio represents presentational music. The professional artists of Coldplay are paid to practice and perform their music for their multitude of fans. Although Coldplay may feed off the energy of their fans and the fans may make a connection based off the energy of the performance, their is a clear boundary between fan and artist. Fans pay money to listen while the artists spend vast amounts of time perfecting their rhythm, tone, variations, and solos. This performance with the lights, the talking interludes, and the movements of the performers engages the audience, keeping them interested and involved. The artists further have control of what song comes next, what solos they wish to incorporate, and other freedoms separate from the audience's input.

Presentational music allows incredible talent to be showcased for the entertainment of others. It allows talented artists to show-off their skill and musical expression. Artists have great freedom of expression, but because they plan their shows and practice beforehand, the actual performance does not include the audience on a deeper level. Performances are limited by the boundary between audience and artist, and although the audience may influence the sound, they are not a part of it and can not significantly alter it. The distinction between the artist performing and the people listening thus inhibits the potential of complete oneness or communitas.

This type of music is primarily based off of capitilistc notions. The audience is paying to hear a sensually stimulating performance that allows them a great time while the artist is being paid to showcase their talent in an entertaining and engaging manner. If each of these expectations are fulfilled, then the overall performance will be deemed a success.

{High-Fidelity}

"If I Lose Myself" (Acoustic) One Republic

"If I Lose Myself" is one of the many examples of high-fidelity music integral to American musical culture. It is a recording with the potential to be performed live. One Republic's acoustic hit thus preserves the feeling of "liveness" but in a high-quality and edited manner. Studio engineers have perfected each element of the song whether the vocals, the strings, or baseline. The song was recorded to be played in places, without the actual band's presence, and is sold to fans for profit.

Because high-fidelity music is cut in a studio, any glitches or flaws are expelled. The potential for relative perfection becomes the goal as the performes can make multiple cuts until they get exactly what they want. High-fidelity music also allows the ability for fans to listen to artists' songs without actually going to a concert. On the other hand, high-fidelity music may not line up with the actual live performance. It does not have any of the smoke and light visuals to engage them nor the actual presence of the artists. This field of music does, however, allow one artist to harmonize with themself which would make the live performance lacking without the extra texture.

High-fidelity music is expected to be the best quality that an artist can give. As studio engineers can take the best cut of a vocal artist and layer it with the best cut of each instrument, there is little room for bad quality. It is a representation of a band's very best that is then sold thus making this music highly competitive in a capitilistic society. The popularity of music is often measured by the amount of money accumulated from sales thus making the music hierarchial on who is the best or what is the best song.

{Studio Audio Art}

"Live for the Night" Krewella

 

 

Although the sisters of Krewella sing the vocals to their songs, the beat and sounds accompanying them are computer generated. "Live for the Night" is an example of studio audio art as no instrument can produce the exact sounds in the song. If performed live, it would still be amped up computer generated sounds accompanied by their voice recordings or perhaps their actual voice. This type of music is separate from normal instrument sounds. Though commonly accepted now, it is different from the normal and more abstract.

 

Studio audio art focuses on the abstract sounds, beats, and bass drops. The entertainers have total control over their product and need not rely on their own natural talent for the literal sound production. Instead, the talent comes from their creativity with the sounds produced by a computer. In this way, artists have max control over their finished product but are limited by the sounds of a computer rather than ones they can produce naturally. This type of music also involves little human interaction of joined artists other than the vocals or collaboration of music mixing. Studio-audio art is expected to sound computer generated but in an engaging, different, and upbeat sort of way. It relies on the beat, the variations, and, many times, the bass drops, not the involvement of other people.

Emotion & Meaning in Music

{This is Indiana}

I was always told Junior year would be my hardest yet most fulfilling. It was the year of the ACT, the college visits, and the groundwork for scary college years. I remember constantly worrying about where I wanted to go, what I wished to do, and what I had to to accomplish in order to get where I dreamed of. The big college decision was always at the back of my mind, pestering on. While I had visited my sister at Indiana, I felt it was way too big for me with too many people. I visited Northwestern, University of Illinois, Washington University in St. Louis, and Notre Dame, and while I loved a few of them, they were missing the social aspect and Big Ten fun I was looking for. At the end of my Junior year, I decided to spend my summer with my sister in Bloomington, IN. There I could sort through my thoughts and organize all the deadlines I'd need for college applications. Spending the summer with my sister was one of the best and most pivotal decisions I have made in my life.

Being in Bloomington, hanging out with my sister, and making friend of my own, I got a little taste of all Indiana had to offer. I had the opportunity to explore the town, go to class with my sister, and meet so many interesting and diverse people. When I was at a party with my sister, I remember the music turning up playing "This is Indiana." Everybody joined in together making it a surreal and satisfying moment. Indiana, however big the student population may be, is a family and community. When I returned home for the summer, my friend and I added this song to our playlist. If we were in the car and it came on, we would blast it and sing louder than any would care to hear. It reminded me of my summer in Indiana and my comfort and love of the community. The big college decision did not seem scary any longer as I figured out where I wanted to be and where I knew I would feel comfortable. This song is indexical of my memories at IU, my fun at the football games, and all the social aspects I encountered on my visits. Every time I'd visit my sister after, I would always hear this song whether at tailgates, parties, or other events and I would always get pumped up.

When I hear this song (the sign) I remember my summer at IU, my visits here, my eagerness to go to a basketball game, and the satisfaction I have for my college decision (my indices). I then feel excitement and anticipation for the coming memories to be made (interpretant). It pumps me up for the coming four years as I am so eager to experience IU as a student part of the B-town community!

Songprint

 "Claire de Lune" Claude Debussy

When I was in sixth grade sitting in my choir classroom, I remember listening to my teacher play a diversity of music on the piano. Her musical talent knew no bounds as she mastered the notes with such vitality and character. The day she played this beautiful composition, I was hooked and reached a sense of flow. The magical sound inspired me to re-commit to piano lessons with more dedication than my seven year old self who never wanted to practice. While I've never played on a competition level, practicing and performing for my family and friends allowed me to better appreciate musicians with incredible musical propensities. "Claire de Lune" was my favorite piece to try mastering and it remains my favorite piece to hear. The song calms then revitalizes me. It is mysterious, uplifting, reflective, soothing, and inspiring all together. Debussy's piece is the sign with indices of my choir teacher's performance, my piano lessons, my awe of musical talent, and also the closing, reflective scene in Ocean's Eleven. The song ultimately reminds me of my first profound commitment to appreciating music and the many satisfying experiences that followed. 

 "Chelsea Dagger" The Fratellis

“Chelsea Dagger” is my jam. I am a huge fan of the Chicago Blackhawks, your 2013 Stanley Cup Winners (!!!), and the Fratellis created the beloved tune that celebrates a Blackhawk goal. While I do not necessarily connect with the prostitute in the story as the musicians' may have intended, I instead frame the song in setting of a Hawks game. My indices to the song are my exhilarating memories in the United Center, my excitement watching the team on my television, and my most recent euphoria for seeing the Cup brought back home. Every time I heard it being played immediately following the win, I relived the last two goals by Bickell and Bolland and relived the elation that came with it. All that passion I feel for the team and the memories I associate with it are riled up with this song thus making the interpretant in this situation my composite bundle of happy feelings and the unexpected happy dances that inevitably go with it. 

"When the Stars Go Blue" Bethany Joy & Tyler Hilton (Cover)

Acoustic songs always seem to be my favorite because I can more clearly concentrate on the voices of the singers. Hearing a person sing and express a part of them in a way where I can connect always leaves me in a state of wonder. I love good duets even more because it is two voices complementing each other, coming together, and creating such a beautiful statement as one to the world. I often feel flow upon hearing soulful duets as I zone on just their voices, the inflection behind it, and the special qualities and sound the singer possesses. Bethany Joy and Tyler Hilton's cover of "When the Stars Go Blue," is one of my favorite duets because it reminds me of watching One Tree Hill with my sister. Those moments were probably the only times we really got along in long spans while living together. We would have One Tree Hill marathons and even sing our own versions of their songs. As we no longer share the same house, my sister and I are currently very close and I thank our tv show shenanigans for allowing us that initial bond to grow upon. This song is the sign whose indices are childhood bonding with my sister thus making the interpretant my nostalgia and evolved love and appreciation for my sister. 

"We Are the World 25 for Haiti" 

There is so much talent joining together and calling others to unite for both a worthy immediate and continual cause. What is there not to love? "We Are the World 25 for Haiti" is a remake of the original song written by Michael Jackson and Lionel Richie for Africa in 1985. Over eighty artists joined together, raising funds and awareness to help Haiti. The lyrics call humanity to join as one to help each other out when the inevitable hurts of life bring people down. It captures the profoundly spiritual and emotional message of unity and love and inspires me to give to others, be open to others, and connect with others on a universal level. We are all joined by humanity in a big family despite our cultural differences. If we remember this, stay united, and love each other, remarkable things like this song and the actions this song inspires will happen. This song essentially reminds me to pop my own little bubble of wants and worries. It reminds me of community, love, humility, and respect towards others. When I hear this song and sing along, I feel myself revitalized and recommitted to the ideal of a world united by love.