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Master Thesis the PERCEPTION of OPINION LEADERSHIP FOR Master Thesis THE PERCEPTION OF OPINION LEADERSHIP FOR POLITICAL AND CIVIC PARTICIPATION AMONG DANCE MUSIC ARTISTS Emilija Kučytė Political communication Student identification number: 10841830 Thesis supervisor: Dr. M.E. Wojcieszak Word count: 1443 2 MUSICIANS AS OPINION LEADERS STIMULATING POLITICAL PARTICIPATION Abstract This research combines the fields of entertainment, politics and media. The patterns of political participation are especially changing among youth. In this context popular artists, acting as opinion leaders, have the forum to shape the public opinion and instigate political behavior. Thus by conducting qualitative interviews with dance music artists, this thesis provides an insight on their motives to act as opinion leaders, who stimulate civic participation among their fans. It has showed that the motives to instigate political engagement depend on the interplay between the views towards the freedom of speech, hierarchy and representation in democracy; the level of interpretation of an artist as a public versus private person and the level of perceived influence of artists. The motivation was moderated by the medium and the level of issue controversy. Keywords: Political participation, media, music, entertainment, civic engagement, opinion leadership 3 MUSICIANS AS OPINION LEADERS STIMULATING POLITICAL PARTICIPATION Introduction “I am a D.J., I am what I say[..] I've got believers I've got believers in me” - David Bowie. In this song the late David Bowie talks about the influence of a DJ, a face of now billion dollar growing industry and the genre most popular among the millennial generation. Among other forms of entertainment, music has always had an important role in influencing the political landscape, mobilizing nations or being a form of protest, while becoming “the voice of the generation” (Van Zoonen, 2005). Whilst the civic and political participation patterns in the western democracies are changing, especially among youth, this thesis looks on what political and societal role may the music of the modern day play into it. It is claimed that various civic participation forms have become more preferred than conventional political participation (Bennett, 2008; Russell J. Dalton, 2008). In fact, data points to a decreasing rate of conventional political participation among western societies: a steady drop of the worldwide voting turnout by 10 points since the 80s, institutional trust and party membership reaching an unprecedented lows (Hooghe & Marien, 2013; L. Street, NW, Washington, & Inquiries, 2014). These trends are especially permeated among youth (Bennett, 2008; Lopez & Donovan, 2002). Instead young people willfully engage in various forms of civic participation, based on ‘involvement’, ‘voice’ and ‘output’ within communities, both offline and online (Bang, 2003; Bennett, 2008; Russell J. Dalton, 2008; Wheeler, 2012). However, as long as government, other social groups and institutions remain in the central of the democratic process, it is important to bridge the disengaging youth (Bennett, 2008). 4 MUSICIANS AS OPINION LEADERS STIMULATING POLITICAL PARTICIPATION Observers note, one of the ways to stimulate electoral and civic participation is by connecting politics to the everyday culture (Bennett, 2008; Van Zoonen, 2005). Noticeably the domains of politics, entertainment and media have begun to overlap, thus celebrity politics has become of particular interest, due to it’s potential to influence electorates and shape political discourse (Bang, 2003; Marsh, ‘t Hart, & Tindall, 2010; J. Street, 2004a; Wheeler, 2012). In fact, prior research on the effects of celebrity involvement and endorsement of civic and political activism proved celebrities being capable of influencing attitudes and stimulating political engagement among the younger citizenry (Austin, Vord, Pinkleton, & Epstein, 2008; Jackson, 2008; Jackson & Darrow, 2005). Moreover, along with the rise of social media, artists and musicians have gained an even more direct platform to engage with their fans and disseminate messages to a broad spectrum of people. While an impressive body of studies (mostly before the social media era) has investigated the opinion leadership, it’s effects of disseminating the messages to the broader constituencies and validity among nations (Katz, 1957; Nisbet & Kotcher, 2009; Valente & Pumpuang, 2007; Weimann, 1991), but there is a gap of literature adressing the incentives and motives of the opinion leaders themselves (Weimann, 1991). Furthermore, while the literature of celebrity politics has looked at the effects on attitudes, behaviours and normative implications (Marsh et al., 2010; J. Street, 2004b; Van Zoonen, 2005; Wheeler, 2012) the perspective of celebrities, artists or musicians themselves in their perception on their role in stimulating political and civic participation has been overlooked. Therefore I begin drawing upon existing literature on celebrity politics and opinion leadership to approach the general research question: To what extent are dance musicians opinion leaders who consciously stimulate civic engagement among youth? With the current study I extend the line of qualitative research by relying on semi structured interviews to examine the perceptions, incentives and determinants of artists in stimulating political and 5 MUSICIANS AS OPINION LEADERS STIMULATING POLITICAL PARTICIPATION civic engagement. Furthermore, I look at what possible part the contemporary music could play as a possible avenue for civic engagement and – in so doing – this thesis offers a greater understanding of the interplay between politics and entertainment in the in the context of Digital Age and changing patterns of political participation. Theoretical Framework The relocation of political and civic behaviour (Bennett, 2008) has to be researched in the context of broader societal changes. Due to the rise of Internet and social media, the way people exchange, consume and seek for information has changed, which subsequently gave more influence to the electorates and peer networks (Bennet, 2007). According to Bang (2003) along the changing forms of participation the late modernity era brought ‘the replacement of hierarchy by networks as the dominant mode of governance; a move from politics policy to policy politics; the increased importance of the discursive arena for network governance and the associated rise of the role of the media and celebrity politics’ (Bang, 2003; Marsh et al., 2010, p. 326). The literature of celebrity politics points to two opposing perspectives rowards celebrity involvement in politics (Bang, 2003; Marsh et al., 2010; J. Street, 2004a; Wheeler, 2012). Critics claim, that while aiming for an informed debate in a respresentative democracy, celebrities marginalise the relevant expertise with abusing their platform lack of knowledge over policies (Pharr & Putnam, 2000; J. Street, 2004b). On the other hand, using the platform, it gives the celebrity an ability to reach and mobilize otherwise disengaged and apathetic constituencies, possibly even amplify marginalized voices (Marsh et al., 2010). Furthermore, at some cases celebrity politics are claimed to be actively aimed at stimulating public involvement and demanding greater transparency from policy makers. In addition, artists commonly behave as neutral agents without a self-benefiting political agenda, who do not seek the elected office (J. Street, 2004a). 6 MUSICIANS AS OPINION LEADERS STIMULATING POLITICAL PARTICIPATION In fact, when popular music claims a political role, it is commonly associated with ‘social movement politics, constructing and confirming the sense of togetherness around a particular shared concern’ (Van Zoonen, 2005, p.49) (e.g. rap as civil rights movement of the 90s) (Martinez, 1997). Electronic dance music chosen for this study has had the biggest growth in global popularity within the last decades, especially among millennial generation (“Who is the Electronic Music Listener?,” 2014). The attendance at the top twenty global dance music festivals in 2013 was counted to have reached between 1.4 to 3.4 million (Kiendl, 2013); the industry evaluated for $6.9 billion (“Global EDM Market Hits $6.9 Billion,” n.d.); and top musicians being followed by millions of fans on social networks (e.g. David Guetta - over 55 mln.). However, as well as the youth engagement, the political potential of dance music culture has been contradicting. Riley et al. (2010) claims that dance music as practice of youth cultural leisure and consumption is a form alternative political participation, without a particular social change agenda and it focuses on its purposefully escapist, hedonistic and apolitical objectives (Riley, Griffin, & Morey, 2010). Whereas the occurrence of dance musicians getting actively and publically involved in social issues, charity events or even political discussions online in the recent years is evident (“ADE Green,” 2015, “Can dance music and politics really mix?,” 2005, “Techno For Humanity fundraiser,” 2015). Either way, such events and the political and social involvement of artists and their political expression could have influence on their fans. Popular musicians as opinion leaders The theory of the Two-Step-Flow by Katz and Lazarsfeld (1955) defines opinion leaders as mediators within the communication flow, who transmit messages from the media to a broader public (Katz & Lazersfeld, 1955). The original theory, looked at opinion leadership of people in horizontal social networks, such as peers and
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