Responses to Peter Manuel's “World Music and Activism Since the End of History [Sic]”
Responses to Peter Manuel’s “World Music and Activism Since the End of History [sic]” Political Music, Facts, and Views of Them BEATE KUTSCHKE 1. Facts and the way we respond to facts Reading Peter Manuel’s article for the first time, I expected to learn primarily about the relationship between musical pieces and socio-political change. Looking at it more closely, I realized that his article is rather on views of musical pieces and views of socio-political change; it is more on ideas, attitudes, emotions, and the spirit that we (and other individuals) attribute to what we consider to be facts than the facts themselves. I will support this viewpoint in the following paragraphs. Peter Manuel’s starting point is the observation that, in the course of the student and protest movements of the 1960s and 70s, a vigorous scene or culture of political music developed around the globe that, since the 1980s, has increasingly vanished. He claims that this disappearance of the scene is related to (or has even been caused by) significant socio-political and economic changes climaxing around 1990: the end of the Cold War and, connected with this, the end of antagonists fighting over the hegemony of their favored economic-political systems (capitalism vs. communism; dictatorship vs. democracy) in the 1990s and, especially after the turn of the millennium, the rise or intensification of new menaces, first and foremost, “an amorphous global financial network” and “savage tribal, religious, and ethnic movements armed with modern weaponry.” This is the explicit dimension of the text. The kernel of the article’s argument, however, is the description of different kinds of spirit that Peter Manuel and other contemporaries (including me!) experience in response to specific historical facts and political music.
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