Defining the Margin of Terror

Total Page:16

File Type:pdf, Size:1020Kb

Defining the Margin of Terror C Defining the margin of terror - Explaining the chilling effect of insult and defamation laws on the media and artists in Zimbabwe Candidate: Ragnhild Therese Nordvik Submission deadline: May 15th 2014 Number of words: 19 994 Supervisor: Malcolm Langford Acknowledgements I wish to thank Fritt Ord, for providing me with a scholarship which made it financially possible to travel to Zimbabwe. A special thanks to Sam Takavarasha Jr for all the practical assistance in Harare. I am also grateful to all my informants as well as other people, both inside and outside of Zimbabwe, who took time out of your very busy schedules to talk to me and guide me. I also want to thank my supervisor, Malcolm Langford, for inspiration and encouragement along the way. Thank you also to all the staff at the Centre for Human Rights, who have contributed academically and personally to the master’s programme. To all the students (and former students) sitting at the Centre for Human Rights: The lunch company, coffee break discussions and mutual support is priceless! A big thank you also goes to all my for- mer colleagues in SAIH (Norwegian Students’ and Academics’ International Assistance Fund), for everything you have taught me about Zimbabwe and everything else. I am also truly grateful to my wonderful friends and neighbours, who have taken us under your wings and given both me and Nicolas food, love and support during my most busy exam periods. To Nicolas: Thank you for being exactly who you are. You make me proud. However, my biggest gratitude goes to my mother, Grete Karin Nedrelid. Without your support and help I could not have done it. I Table of contents ACKNOWLEDGEMENTS ................................................................................................. I TABLE OF CONTENTS ................................................................................................... II 1 INTRODUCTION ..................................................................................................... 1 1.1 Methodology ................................................................................................................ 2 1.2 Outline of the thesis – a reader’s guide ....................................................................... 4 2 FREEDOM OF EXPRESSION, DEFAMATION LAWS AND THE ‘CHILLING EFFECT’ ............................................................................................. 5 2.1 Freedom of expression in international human rights law .......................................... 5 2.2 Criminal defamation and “insult laws” ....................................................................... 6 2.2.1 Historical background .................................................................................... 8 2.2.2 Insult laws and freedom of expression ........................................................... 8 2.3 The ‘chilling effect’ ................................................................................................... 11 2.3.1 The legal concept ......................................................................................... 11 2.3.2 What determines the chilling effect of legislation? ...................................... 13 2.3.3 A theory of the chilling effect of Zimbabwean legislation .......................... 16 3 THE EFFECT OF LEGISLATION IN ZIMBABWE ......................................... 18 3.1 Zimbabwe – introduction ........................................................................................... 18 3.1.1 Zimbabwe and human rights ........................................................................ 18 3.1.2 Zimbabwean legislation affecting freedom of expression ........................... 20 3.2 The chilling effect of existing legislation in Zimbabwe ............................................ 24 3.2.1 The media ..................................................................................................... 24 3.2.2 Other public voices - artistic expressions in music, theatre and literature ... 35 II 3.2.3 The current situation .................................................................................... 44 3.3 The effect of legislation on public voices in Zimbabwe ........................................... 45 3.3.1 Defining the ‘margin of terror’ .................................................................... 46 4 CONCLUSION ........................................................................................................ 54 5 TABLE OF REFERENCES ................................................................................... 56 5.1 Treaties/Statutes ......................................................................................................... 56 5.1.1 International ................................................................................................. 56 5.1.2 Domestic (Zimbabwe) .................................................................................. 57 5.2 Judgements/decisions ................................................................................................ 57 5.3 Secondary Literature .................................................................................................. 58 5.4 List of interviews ....................................................................................................... 67 6 ANNEXES ................................................................................................................ 68 6.1 Section 31 of the Zimbabwe Criminal Law (Codification and Reform) Act ............ 68 6.2 Section 33 of the Zimbabwe Criminal Law (Codification and Reform) Act ............ 69 6.3 Section 96 of the Zimbabwe Criminal Law (Codification and Reform) Act ............ 70 III 1 Introduction Freedom of expression faces many challenges in Zimbabwe. Public expressions are affected by a variety of pieces of legislation in combination with official practices. Legislation on insult and defamation is assumed to have a particular chilling effect on public expressions. However, we see that the compliance with these laws is far from absolute, indicating that the effect of the legislation is conditional. But what is the effect of the legislation, and what are the factors that make legislation chilling? This study examines the effect that legislation on insult and defamation has on media prac- titioners and artists in Zimbabwe. The detailed research question is: How is the Zimbabwe- an legislation regarding insult laws and criminal defamation of public officials affecting critical voices (media, artists) – in which way can it be said that the legislation has a ‘chilling effect’ on public expressions? In answering this question I have interviewed journalists, editors, artists and scholars in Zimbabwe. I will look at factors that have an impact on the deterring effect of legislation and apply these theories to the data from Zimbabwe. This study will contribute to three different fields. First of all, it is a contribution to the growing literature on the situation in Zimbabwe when it comes to freedom of expression and freedom of the media. Although many reports from non-governmental and internation- al organisations document the chilling on the media in Zimbabwe, I have not found aca- demic studies looking at this specifically. Secondly, I hope to contribute to the understand- ing of what is meant by the chilling effect on the media within socio-legal studies; and thirdly, the study will also contribute to the more general question of which factors cause legislation to be effective. 1 1.1 Methodology The main thrust of my data comes from interviews performed during a two week field visit to Harare in March/April 2014, combined with literature studies of already existing books, articles and reports. One of the advantages of doing personal interviews is that the re- searcher can get targeted information on the subject that he or she wants to learn more about. In this case, performing interviews also provided an opportunity to examine the ef- fect of recent legal changes, which was relevant for my study. Also, issues related to free- dom of expression and oppositional voices are complex in Zimbabwe, and in such a tense political situation the advantage of doing personal interviews is that people will feel more comfortable to talk about sensitive issues. All the interview objects were promised anonymity in the published thesis. This was im- portant to some of them, whereas others said that they did not mind being quoted, since they had already talked publically about these or related issues. All names were still kept confidential, to avoid that someone could be identified by them having had a meeting with me and not being among those named1. Rumours about surveillance and infiltration of work places, universities etc. are constant in Zimbabwe, and it is very easy to get caught up in the habit of constantly looking over your shoulder to see if anyone is following you or listening to you. One of the informants put it this way: The CIO2 is the matter, although not as sophisticated as people are made to think, from my experience, but they play their role, sniffing out, they have to know that you are here, probably they do. They probably know that you are talking to me now. (Interview nr 2, Journalist 25.03.2014) This was said on my second day in Harare, which made it quite unlikely that the CIO should have any knowledge about me being there, but even so it illustrates the constant 1 The list of names and contact information of all informants is kept by author. 2 Central Intelligence
Recommended publications
  • Soviet Censorship Policy from a Musician's Perspective
    The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project.
    [Show full text]
  • Of Contemporary Popular Music
    Vanderbilt Journal of Entertainment & Technology Law Volume 11 Issue 2 Issue 2 - Winter 2009 Article 2 2009 The "Spiritual Temperature" of Contemporary Popular Music Tracy Reilly Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Entertainment, Arts, and Sports Law Commons, and the First Amendment Commons Recommended Citation Tracy Reilly, The "Spiritual Temperature" of Contemporary Popular Music, 11 Vanderbilt Journal of Entertainment and Technology Law 335 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol11/iss2/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. The "Spiritual Temperature" of Contemporary Popular Music: An Alternative to the Legal Regulation of Death-Metal and Gangsta-Rap Lyrics Tracy Reilly* ABSTRACT The purpose of this Article is to contribute to the volume of legal scholarship that focuses on popular music lyrics and their effects on children. This interdisciplinary cross-section of law and culture has been analyzed by legal scholars, philosophers, and psychologists throughout history. This Article specifically focuses on the recent public uproar over the increasingly violent and lewd content of death- metal and gangsta-rap music and its alleged negative influence on children. Many legal scholars have written about how legal and political efforts throughout history to regulate contemporary genres of popular music in the name of the protection of children's morals and well-being have ultimately been foiled by the proper judicial application of solid First Amendment free-speech principles.
    [Show full text]
  • Censorship in Popular Music Today and Its Influence and Effects on Adolescent Norms and Values Annotated Bibliography
    University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2019 Censorship in Popular Music Today and Its Influence and ffE ects on Adolescent Norms and Values Sarah Wagner University of Denver, [email protected] Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons Recommended Citation Wagner, Sarah, "Censorship in Popular Music Today and Its Influence and ffE ects on Adolescent Norms and Values" (2019). Musicology and Ethnomusicology: Student Scholarship. 45. https://digitalcommons.du.edu/musicology_student/45 This work is licensed under a Creative Commons Attribution 4.0 License. This Bibliography is brought to you for free and open access by the Musicology and Ethnomusicology at Digital Commons @ DU. It has been accepted for inclusion in Musicology and Ethnomusicology: Student Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Censorship in Popular Music Today and Its Influence and ffE ects on Adolescent Norms and Values This bibliography is available at Digital Commons @ DU: https://digitalcommons.du.edu/musicology_student/45 Censorship in Popular Music Today and its Influence and Effects on Adolescent Norms and Values Annotated Bibliography Anthony, Kathleen S. “Censorship of Popular Music: An Analysis of Lyrical Content.” Masters research paper, Kent State University, 1995. ERIC Institute of Education Sciences. This particular study analyzes and compares the lyrics of popular music from 1986 through 1995, specifically music produced and created in the United States. The study’s purpose is to compare reasons of censorship within different genres of popular music such as punk, heavy metal and gangsta rap.
    [Show full text]
  • Censorship of Popular Music: an Analysis of Lyrical Content. PUB DATE Jul 95 NOTE 38P.; Masters Research Paper, Kent State University
    DOCUMENT RESUME ED 390 402 IR 055 749 AUTHOR Anthony, Kathleen S. TITLE Censorship of Popular Music: An Analysis of Lyrical Content. PUB DATE Jul 95 NOTE 38p.; Masters Research Paper, Kent State University. PUB TYPE Dissertations/Theses Undetermined (040) EDRS PRICE MF01/PCO2 Plus Postage. DELCRIPTORS Art; *Censorship; *Content Analysis; Moral Values; Obscenity; *Popular Music; Rock Music; Tables (Data) IDENTIFIERS *Lyrics; Rap Music ABSTRACT This study analyzes the lyrical content of popular music recordings, cited as censored from 1986 through 1995, in order to examine chavacteristics of the recordings that were found to be objectionable and the frequency with which the objections occurred. Out of 60 articles from the music trade magazines, "Billboard" and "Rolling Stone," 77 instances of censorship were recorded and analyzed. The categories for evaluation were the year of citation, music style, and reason for censorship. Nineteen ninety was the year with the highest number of journal articles (21) covering music censorship. Rap (487.) and rock (44.27.) music accounted for a large portion of the total censored recordings and the majority of recordings were censored because of lyrics seen as explicit, profane, obscene or vulgar. In addition, five rock recordings were censored because of objectionable artwork on or inside the covers. Recordings were also censored because of opposition to a view the artist expressed. Two tables depict the years of citation and the reasons for censorship, each according to music styles. Appendices contain a list of the music censorship articles and a coding form for the year of citation, music style, and reason for censorship.
    [Show full text]
  • The Spiritual Temperature of Contemporary Popular Music REILLY
    The “Spiritual Temperature” of Contemporary Popular Music: An Alternative to the Legal Regulation of Death-Metal and Gangsta-Rap Lyrics Tracy Reilly* ABSTR ACT The purpose of this Article is to contribute to the volume of legal scholarship that focuses on popular music lyrics and their effects on children. This interdisciplinary cross-section of law and culture has been analyzed by legal scholars, philosophers, and psychologists throughout history. This Article specifically focuses on the recent public uproar over the increasingly violent and lewd content of death- metal and gangsta-rap music and its alleged negative influence on children. Many legal scholars have written about how legal and political efforts throughout history to regulate contemporary genres of popular music in the name of the protection of children’s morals and well-being have ultimately been foiled by the proper judicial application of solid First Amendment free-speech principles. Because the First Amendment prevents musicians from being held liable for their lyrics, and prevents the content of lyrics from being regulated, some scholars have suggested that the perceived problems with popular music lyrics could be dealt with by increasing public awareness and group action. * Assistant Professor of Law, University of Dayton School of Law, Program in Law & Technology, Dayton, Ohio. J.D., Valparaiso University School of Law, 1995; B.A., Northern Illinois University, 1990. The author would like to dedicate this Article to the loving memory of her first and best teacher, friend and mentor—her mother, Eileen Reilly. She would also like to thank her husband, Mark Budka, for his constant love and support; Kelly Henrici, Executive Director of the Program in Law & Technology, for her insightful comments and continuous encouragement; and Dean Lisa Kloppenberg and the University of Dayton School of Law for research support.
    [Show full text]
  • Popular Music and Violence This Page Has Been Left Blank Intentionally Dark Side of the Tune: Popular Music and Violence
    DARK SIDE OF THE TUNE: POPULAR MUSIC AND VIOLENCE This page has been left blank intentionally Dark Side of the Tune: Popular Music and Violence BRUCE JOHNSON University of Turku, Finland Macquarie University, Australia University of Glasgow, UK MARTIN CLOONAN University of Glasgow, UK © Bruce Johnson and Martin Cloonan 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Bruce Johnson and Martin Cloonan have asserted their moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the authors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington, VT 05401-4405 Surrey GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence. – (Ashgate popular and folk music series) 1. Music and violence 2. Popular music – Social aspects I. Title II. Cloonan, Martin 781.6'4 Library of Congress Cataloging-in-Publication Data Johnson, Bruce, 1943– Dark side of the tune : popular music and violence / Bruce Johnson and Martin Cloonan. p. cm.—(Ashgate popular and folk music series) Includes bibliographical references. ISBN 978-0-7546-5872-6 (alk. paper) 1. Music and violence. 2. Popular music—Social aspects. I. Cloonan, Martin. II. Title.
    [Show full text]
  • Le Droit À La Liberté D'expression Artistique Et De Création
    Nations Unies A/HRC/23/34 Assemblée générale Distr. générale 14 mars 2013 Français Original: anglais Conseil des droits de l’homme Vingt-troisième session Point 3 de l’ordre du jour Promotion et protection de tous les droits de l’homme, civils, politiques, économiques, sociaux et culturels, y compris le droit au développement Rapport de la Rapporteuse spéciale dans le domaine des droits culturels, Mme Farida Shaheed Le droit à la liberté d’expression artistique et de création* Résumé La Rapporteuse spéciale dans le domaine des droits culturels, Mme Farida Shaheed, soumet le présent rapport en application de la résolution 19/6 du Conseil des droits de l’homme. Dans le présent rapport, la Rapporteuse spéciale examine les différentes manières dont le droit à la liberté indispensable à l’expression artistique et à la création peut être restreint. Elle se penche sur le constat croissant, dans le monde entier, que les voix artistiques ont été ou sont réduites au silence par des moyens divers et de différentes manières. Le rapport traite des lois et règlements qui restreignent les libertés artistiques ainsi que des questions économiques et financières qui ont une incidence considérable sur ces libertés. Les motivations profondes en sont le plus souvent politiques, religieuses, culturelles ou morales, ou reposent dans des intérêts économiques, ou sont une combinaison de ces éléments. La Rapporteuse spéciale encourage les États à un examen critique de leurs législations et pratiques qui imposent des restrictions au droit à la liberté d’expression artistique et de création, compte tenu de leurs obligations de respecter, protéger et réaliser ce droit.
    [Show full text]
  • Freemuse-The-State-Of-Artistic-Freedom
    THE STATE OF ARTISTIC FREEDOM 2018 FREEMUSE THE STATE OF ARTISTIC FREEDOM 2018 1 Freemuse is an independent international organisation advocating for and defending freedom of artistic expression. We believe that at the heart of violations of artistic freedom is the effort to silence opposing or less preferred views and values by those in power – politically, religiously or societally – mostly due to fear of their transformative effect. With this assumption, we can address root causes rather than just symptoms – if we hold violators accountable. Our approach to artistic freedom is human rights-based as it provides an international legal framework and lays out the principles of accountability, equality and non-discrimination, and participation. ©2018 Freemuse. All rights reserved. ISSN 2596-5190 Design: www.NickPurser.com Infographics: sinnwerkstatt Medienagentur Author: Srirak Plipat Research team: Dwayne Mamo, David Herrera, Ayodele Ganiu, Jasmina Lazovic, Paige Collings, Kaja Ciosek and Joann Caloz Michaëlis Freemuse would like to thank Sara Wyatt, Deji Olatoye, Andra Matei, Sarah Hossain, Shaheen Buneri, Irina Aksenova and Magnus Ag for their review, research assistance and feedback. Every effort has been made to verify the accuracy of the information contained in this report. All information was believed to be correct as of February 2018. Nevertheless, Freemuse cannot accept responsibility for the consequences of its use for other purposes or in other contexts. This report is kindly supported by the Swedish International Development Cooperation Agency (SIDA), the Norwegian Ministry of Foreign Affairs and Fritt Ord Norway. THE STATE OF ARTISTIC FREEDOM 2018 FREEMUSE THE STATE OF ARTISTIC FREEDOM 2018 3 I draw and I paint whenever “ I can.
    [Show full text]
  • Censorship of Rock-And-Roll in the United States and Great Britain
    NYLS Journal of International and Comparative Law Volume 12 Number 3 FOURTH ANNUAL ERNST C. STIEFEL SYMPOSIUM: THE PRIVATIZATION OF Article 7 EASTERN EUROPE 1991 LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN Marilyn J. Flood Follow this and additional works at: https://digitalcommons.nyls.edu/ journal_of_international_and_comparative_law Part of the Law Commons Recommended Citation Flood, Marilyn J. (1991) "LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN," NYLS Journal of International and Comparative Law: Vol. 12 : No. 3 , Article 7. Available at: https://digitalcommons.nyls.edu/journal_of_international_and_comparative_law/vol12/iss3/ 7 This Notes and Comments is brought to you for free and open access by DigitalCommons@NYLS. It has been accepted for inclusion in NYLS Journal of International and Comparative Law by an authorized editor of DigitalCommons@NYLS. LYRICS AND THE LAW: CENSORSHIP OF ROCK-AND-ROLL IN THE UNITED STATES AND GREAT BRITAIN 1. INTRODUCTION The year 1954 marks a watershed in American popular music-the beginning of rock-and-roll. Thirty-eight years later rock-and-roll is still a vibrant and distinct music form, although difficult to define because of its complex blend of influences and its evolution over four decades. Carl Belz, a music historian, uses the you-know-it-when-you-hear-it approach, namely, that "[a]ny listener who wants rock defined specifically is probably unable to recognize it."' Rock music has always had dedicated fans and equally devoted enemies. This note will explore the attempts to censor rock music, comparing censorship efforts in the United States with those in Great Britain.
    [Show full text]
  • If Censorship in the 'Axis of Evil'
    IF CENSORSHIP IN THE ‘AXIS OF EVIL’ IS EVIL IS CENSORSHIP IN THE ‘AXIS OF GOOD’ THEN GOOD? -Questions and answers on music censorship in the US...and the rest of the world FEATURING REEBEE GAROFALO & MARK LEVINE WHY IS MUSIC CENSORED? Censorship of music has existed ever since ancient Greece. Plato distinguished between “good” and “bad music” – suggesting that the “bad” had to be controlled or banned as it had the potential to divert people from the “good life”. Today music censorship is more complex. Active censors of music are states, religions, educational systems, families, retailers and lobbying groups. Censorship can be extreme, musicians being silenced, like the killings of musicians in Algeria, and the total ban on music in Afghanistan under the Taliban. Or it can be apparently banal, like the banning of certain songs during times of war and terrorism. Threats can lead to self-censorship and thus deprive musicians of their right to free expression. Music is a free expression of the ideas, traditions and emotions of individuals and of peoples. These expressions may confl ict with the politics of those in power. It may be as simple as South African musician Johnny Clegg said: “censorship is based on fear.” WHAT IS FREEMUSE? FREEMUSE - THE WORLD FORUM ON MUSIC AND CENSORSHIP is an independent international membership organization advocating freedom of expression for musicians and composers world- wide. As our guide are the principles outlined in the United Nations Declaration of Human Rights as they apply specifi cally to musicians and composers. The FREEMUSE secretariat was established in August 2000.
    [Show full text]
  • Eadbanging Against Repressive Regimes
    Mark LeVine FREEMUSE (Freedom of Musical Expression) The World Forum on Music and Censorship is an international organisation advocating freedom of expression for musicians and composers worldwide OUR MAIN OBJECTIVES ARE TO – Document violations – Inform media and the public – Describe the mechanisms of censorship – Support censored musicians and composers – Develop a global support network eadbanging against YOU CAN SUPPORT US – VISIT FREEMUSE.ORG – the world’s largest knowledge base on music censorship H repressive regimes ensorship of heavy metal in the Middle East, C North Africa, Southeast Asia and China F R E E M U S E Y Mark LeVine eadbanging against H repressive regimes ensorship of heavy metal in the Middle East, CC North Africa, Southeast Asia and China F R E E M U S E 3 Headbanging against repressive regimes. Heavy metal in the Middle East, North Africa, Southeast Asia and China By Mark LeVine Published by Freemuse Editor-in-Chief: Marie Korpe Graphic design: Mik Aidt Cover: Guitarist of an Iranian heavy metal band Printed in Denmark by Special-Trykkeriet Viborg Report no. 09/2009 • © Freemuse 2009 • ISSN 1601-2127 • ISBN 978-87-988163-3-1 The views in the report do not necessarily represent the views of Freemuse. Other publications by Freemuse • ‘1st World Conference on Music and Censorship’, 2001, ISBN: 87-988163-0-6 • ‘Can you stop the birds singing? – The Censorship of Music in Afghanistan’ by John Baily, 2001, ISSN: 1601-2127 • ‘A Little Bit Special – Censorship and the Gypsy Musicians of Romania’ Y by Garth Cartwright, 2001, ISSN: 1601-2127 • ‘Playing With Fire – Fear and Self-Censorship in Zimbabwean Music’ by Banning Eyre, 2001, ISSN: 1601-2127 • ‘Which way Nigeria? – Music under threat: A Question of Money, Morality, Self-censorship and the Sharia’ by Jean Christophe Servant, 2003, ISSN: 1601-2127.
    [Show full text]
  • Survey Results for the Current State of Censorship in Adult Psychiatric Music Therapy Sessions
    SURVEY RESULTS FOR THE CURRENT STATE OF CENSORSHIP IN ADULT PSYCHIATRIC MUSIC THERAPY SESSIONS BY Copyright 2016 Kendall Joplin B.M. (Music Therapy), Sam Houston State University, 2014 Submitted to the graduate degree program in Music Education and Music Therapy and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music Education (Music Therapy) _____________________________________ Chairperson Dr. Abbey Dvorak ____________________________________ Dr. Deanna Hanson-Abromeit ____________________________________ Dr. Colin Roust Date defended: April 29, 2016 The Thesis Committee for Kendall Joplin certifies that this is the approved version of the following thesis: SURVEY RESULTS FOR THE CURRENT STATE OF CENSORSHIP IN ADULT PSYCHIATRIC MUSIC THERAPY SESSIONS Chairperson Dr. Abbey Dvorak Date approved: May 11, 2016 ii Abstract The purpose of this study was to investigate current censorship practices and beliefs of music therapists working in adult mental health settings. The research questions are: (a) What music, or elements of music, do music therapists censor during music therapy sessions? (b) If music therapists censor, what are their reasons for censoring? The participants for this study were 42 board-certified music therapists who completed an online survey investigating their current censorship practices within sessions. Censorship was broadly defined as music therapists refraining from using, or redirecting clients away from using, certain lyrics, themes, songs, or genres of music during therapist planning and facilitation of sessions. The majority of respondents (78.57%) censor at least one musical element, including themes (69.05%), lyrics (66.67%), and genres (16.67%). Reasons for censorship revolved around issues with treatment, including other group members’ responses, client comfortableness, emotional distress, self- esteem issues, and negative impact on the therapeutic relationship.
    [Show full text]