Pakistan Journal of Social Sciences (PJSS) Vol. 38, No. 2 (2018), pp. 687-694
Socio-cognitive Approach: A study of Political Music Videos of Pakistan (2007-2017)
Rabia Noor Research Scholar in University of the Punjab, Lahore Broadcast Journalist at ARY News Email Id: [email protected]
Abstract: This study explores the socio-cognitive processes involved in the production of Pakistani music videos with political narratives. The time period of the research is for ten years starting from 2007 to 2017. This study suggests that music video is a newest and powerful tool to construct political narratives through integrative and disintegrative themes in Pakistan, and these narratives are used to stimulate the audience. The study rests upon qualitative analysis through in-depth interviews of the producers of music videos, lyricists and singers. Five respondents are selected for the interviews using purposive sampling technique. Then the themes are extracted from the answers of the respondents. The theoretical perspective integrated to interpret the results, is Rick Altman’s approach to film Genre (1987). The findings suggest an extension in Altman’s ideological approach. Findings also show that the positive themes are mostly portrayed in Pakistani sociopolitical music videos with the sponsorship of state institutions.
Keywords: Music Videos, Political narratives, In-depth interviews, Pakistan, Nationalism, Socio-cognitive approach
I. Introduction Every expression transpires from a cognitive process in response to some sort of social interaction and random imaginations. Rink says in a chapter ‘The Psychology of Music’ that not only composers are the people who create music, but the listeners also go through this process of creativity in their minds whenever they get exposed to it. Musical expression is not that simple, because the cognitive structures involved in the production of music are as intricate as the process of perception is. Singers, producers and composers give life to this imagination by creating music and making music videos, by singing, playing instruments and sometimes with the visuals and imagery. Thus, socio-cognitive processes developed with the experiences and interactions with the world, are involved in the musical creation (Rink, 2009, pp. 59-76).
Music video is the medium for the artists through which they can express and interpret the desired meaning of their songs with the visual aid and create public identity. Paracha (2014) says that the Pakistani pop music industry thrived when Zia’s dictatorship ended, and democratic government of PPP led by Benazir Bhutto was re-formed. In 1988, the campaign songs were in fashion when the supporters of PPP and MQM used to stroll on the streets of Karachi in jeep convoys with blasting music on.That was the time when the political musical circus boomed in Pakistan (Paracha, 2014). The objectives of this 688 Pakistan Journal of Social Sciences, Vol. 38, No. 2
study are to find out the socio-cognitive processes involved in the making of Pakistani political music videos and to discover the context of their content.
II. Literature Review Music plays a vital part in every culture. It can have a symbolic role, religious affiliation or national identity. Hence, everyone uses and practice it in a culture accordingly. Music is being symbolically used in the wars, hunting, festivity and grief; it is also used in religious rituals in some cultures and then there comes the genres, like rap music has African origin and folk music shapes identity of some cultures. It is the context in which music is being used. Some societies prohibit music, but it is a religious practice in some religions (Garfias, 2004. p. 7).
Music videos are somehow purposive. As in West Sumatra, they are used for awareness purposes, to inform people about the human sufferings and hardships faced by the earthquake victims. So the music videos highlighted their pain, and helped in raising community service spirit and made people united for a public cause. Music video producers andartists not only sympathized with the victims through their work but also tried to project their emotional and physical state during earthquake to lift their determination and courage (Fraser, 2013, pp. 153-154). Naficy (1998) also concludes in his article that Iranian refugees gained strength in the new land through music videos because music was a dominant culture there. Iranians have used music videos to motivate themselves in hostile circumstances and to show their real self to the world. So they used music videos in twofold inferences, by self-exploration and provocation; and through changing the perspectives of the world about them (p. 59). Music videos are also shaping up the national identity and national pride of an individual along with his or her personal identity by permeatingloyalty for the country and patriotism among people. After the dissolution of USSR in 1991, Kazakhistan emerged as an independent state.They tried to generate national solidarity by using music videos enriched with Kazakh culture to unite the nationagainst religious or political rifts in Kazakhstan (Johnson, 2006, pp. 12-13).
III. Theoretical Framework Socio-cognitive approach is particularly used in discourse studies. It holds the philosophy that the ‘sociopolitical realm’ is created by the members of society and these constructions are the representations of cognition. Constructionists are of the view that these representations and their context should be investigated thoroughly to understand the socio-cognitive processes (Van Dijk, 2016).
Altman (1987) extended his approach towards film genre, from semantics and syntactic approach to pragmatics. Pragmatic approach deals with the context of a message and how the meaning is interpreted by the audience. That’s how pragmatics divides into ideological approach and the ritual approach. Ideological approach explores the context by looking into the institution of films for example Hollywood makes war movies to develop a Pro-American phenomenon, whereas ritual approach is all about the audience interpretation and the impact of audience demand on the making of the films. This study explores the socio-cognitive processes involved in the making of music videos, using the lens of Altman’s ideological approach towards film genre. The research Rabia Noor 689
questions is: What are the socio-cognitive processes involved in the making of the political music videos in Pakistan?
IV. Methodology Qualitative approach in research is more open-ended, purpose oriented and inclusive, and in-depth interviews are widespread and extensive question and answer session with the subjects, to obtain their detailed interpretations and experiences. It is a long and meticulous process to develop an interview guide in the light of research objectives and then trace the relevant respondents and collect all required data from them. This is why an informal method is adopted to conduct in-depth interviews, but sometimes they can be semi-structured as well, it depends on the requirement of the study (Rosenberry, Vicker, 2017). Researcher has categorized sociopolitical music videos in three genres; patriotic, satirical and non-satirical music videos (Noor, 2018, pp. 17-18).
In-depth interviews of five participants including music video producer, vocalists and lyricists are conducted purposely. Using purposive sampling technique, two respondents who have produced music videos with sociopolitical narratives were interviewed, then using snowball sampling three more singers and producers were approached and interviewed. Sahir Ali Bagga is a 36 years old musician. He has produced songs for many patriotic music videos. Rahat Fateh Ali Khan is, 43 years old, famous Qawwal and vocalist in both Pakistan and India. He has sung for numerous patriotic music videos. Ali Gul Pir is a 32 years old comedian, who became a social media sensation in Pakistan with a satirical music video Waderay ka Beta (Son of a Feudal Lord). He is a rapper and produces satirical sociopolitical music videos in Pakistan. Ali Aftab Saeed is 32 years old producer, artist and video blogger at BBC. He has produced both satirical and non-satirical sociopolitical music videos. He created a band with the controversial name ‘Beyghairat Brigade’ (Shameless Brigade). Dr Taimur Rahman isa 42 years old musician and a professor in a renowned University of Lahore. He is leading a band named ‘Laal’ (Red) that produces non-satirical sociopolitical music videos. Interview guide was formulated in the light of literature reviewed.
V. Findings and Discussions Findings are discussed under six themes derived from the questions regarding political narratives in Pakistani music videos and the answers of the respondents. The themes are ideology, sponsorship, political impetus, favored pillar of the state, political parties’ connections and viewers’ feedback.
A. Ideology Ideology is a philosophical founding based on publically shared ideas also depending on their history, and it is meant for particular social groups grounded on conflict or cohesion (Van Dijk, 1998). Background history, which ultimately helps in developing certain ideology, can be arbitrated by the education and livelihood of the music video producers and singers. So ideology along with background helps in understanding the context and significance of the content produced in the music video industry. Rahat Fateh Ali Khan, a graduate, has a strong musical family background, whereas Sahir Ali Bagga also belongs to a musician as his father was a renowned musician. Both singers agree that music itself is an ideology for them and they produce 690 Pakistan Journal of Social Sciences, Vol. 38, No. 2
patriotic songs because of their love for the country. Ali Gul Pir pursued for a degree in media studies and did theatre side by side, he says, “Prejudice and injustice in our society have made the ideological base of my songs and their videos. I write satire, then drolly sing it and produce music videos depicting the problems I notice around.” Taimur Rahman has completed done my PhD in political economy from UK and now he is teaching in a leading University in Lahore. Music is his passion and second occupation. He says, “I wanted a small and appealing name for my band so I named it ‘Laal’which means red and it symbolizes our political ideology as well. It also shows that we are leftist and progressive.”
Ali Aftab Saeed, a graduate, is running his own production house now after doing job for 11 years. He says, “No one supports a politically intent and alert artist. We are anti-theses of news analysts, we used to make fun of them by calling them ‘Ghairat Brigade’ (Modest Brigade). We had a completely opposite ideology, so we named our band as ‘Beghairat Brigade’ (Shameless Brigade).” Music video producers and singers with strong musical history are usually working on patriotic music videos and the media professionals are producing political music videos in satirical way. Politically aware and highly educated music producers are working on political music videos with serious content. Ideology behind political music content is patriotic and reformist approach, need to highlight social evils and political vigilance.
B. Sponsorship Who sponsors you in the production of the political content in your music videos? The response of the participants of the study to this question reveals interesting facts. Sahir Ali Bagga says, “Inter-Services Public Relations (ISPR) and the governments of the time finance all my patriotic songs.”“ISPR produces most of my music videos regarding nationalism and army,” confirms Rahat Fateh Ali Khan. Taimur Rahman of Laal Band says, “Jut one music video titled ‘Umeed-e-Sehar’ was sponsored by Geo. Rest of our videos are always self-financed.”
Ali Gul Pir says, “I earn money by producing songs for brands and then I invest that money on my music videos with political satire like ‘Waderai ka Beta’ (Son of a feudal), ‘Modi Teri’ (You! Modi) and VIP are my self-sponsored songs.” Ali Aftab Saeed responds, “All these videos are obviously self-financed. Corporate sector does not sponsor political satire. There is no profit, even I have to spend my own money to produce political music videos. One of my project ‘Gao Suno Badlo’ (Sing, listen and change) was sponsored by social platform Aawaaz in 2015. It was a confederation of five Non-Governmental Organizations (NGOs).” It expounds that ISPR, a press department of Pakistan military produces most of the patriotic music videos, whereas music videos with political satire are usually self-sponsored, and serious political music videos are also self- financed but sometimes theses are sponsored by NGOs.
C. Political Impetus This study explains political impetus as a provocation or motivation for a singer or musician to produce political music videos. “My first music video was ‘Aalu Anday’ (Potatoes and eggs) released in 2012. Many political events had triggered us to make this satirical political music video. Brutal assassination of that time Governor Punjab Salman Rabia Noor 691
Taseer was one of the reasons, then Government College Lahore, received funds for Dr Abdus Salam chair, but they didn’t allocate the donation for the cause just because of their biased attitude and stern beliefs. I wanted to express my feelings through the music videos,” says Ali Aftab Saeed. Rahat Fateh Ali Khan recounts that ISPR has produced his first video song for Pak Army named ‘Sun Sakhiye’ (Listen my friend!), adding, “I have produced music videos according to the conditions in the country in every term. Sahir Ali Bagga narrates, “ISPR offered me to make music videos for military in the year 2012. I accepted that offer and I am still working with ISPR.” Taimur Rahman says, “We started making videos in the year 2007 in the reaction of General Pervez Musharraf’s declaration of state of emergency following Benazir Bhutto’s assassination in the very next month that year. It was a turning point for us and we started making videos on the revolutionary poetry of Habib Jalib and Faiz Ahmed Faiz.”
Ali Gul Pir says, “I produce the music video of ‘Waderai ka Beta’ after noticing so many ‘Waderas’ (feudal landlords) and their culture around. Music video ‘Taaro Maaro’ is what I’m watching from my childhood, ‘Taaros’ (stalkers) are all around. But now I produce music videos with respect to the political happenings and events, like Narendra Modi was very anti-Pak, so his statements provoked me to make a video song ‘Modi Teri’, Kholoban was a music video triggered by the ban on YouTube in Pakistan.” Political stimulus for most of the patriotic music videos is national cause, integrity and motivation during a crisis like war against terrorism. Political satires are inspired from major political events and social iniquities.
D. Favored Pillar of the State There are three institutions of estateorthodoxly; executives, judiciary and legislature. Press is considered fourth pillar of the estate. Military was counted in the executive institution but now it is raised to a separate pillar due to its role in democracy in Pakistan. The concept of these three pillars is derived from original three estates nobility, clergy and commons, in the summoning of States General before the French Revolution. Press has been involved later for its influence and power (Niazi, 2014).
Sahir Ali Bagga says, “I feel that media is the most influential state pillar these days. We are nothing without media coverage. I have strong trust in military too.” Ali Aftab Saeed says, “I love all these institutions, but only if they do not influence each other and work in their own capacity. I think that our traditional media is very revenue- driven. But with the emergence of social media, news channels and press cannot avoid highlighting real issues as everything is revealed on internet these days.” “As media has provided us with a platform to showcase our message through art, so I trust media as a pillar of the state,” says Rahat Fateh Ali Khan. Ali Gul Pir laughs, “I don’t trust anyone because I think tall institutions including media are protecting their own benefits. Political parties, government officers, all are shielding their own group. Everyone is self- centered and least concerned about the nation. Taimur Rahman agrees to the point Pir has made, “Being a political scientist, I feel every institution is working for its own personal benefits so I analyze their roles and the benefits they are getting; and then I relate our progressive ideology accordingly.”
692 Pakistan Journal of Social Sciences, Vol. 38, No. 2
E. Political Parties’ Connections Vocals and visuals of the sociopolitical music videos, whether they are patriotic, satirical or non-satirical, are politically charged and motivated. So researcher has also tried to analyze the political associations of the people working in the music industry to study the context of these music videos. Ruling political parties face harsh criticism, says Sahir Ali Bagga, “I am a non-political person. In past, my family used to support Zulifqar Ali Bhutto, because they used to think that he was a daring politician in that scenario. But after the death of Benazir Bhutto, we have stopped supporting Pakistan Peoples’ Party. We don’t even vote any one. As I said that I’m not a very political person but yes I am a patriot.” I support socialist ideology, says Taimur Rahman, “I am the general secretary of Mazdoor Kisaan Party and I always support this party. I think this is the only party which holds socialist ideology. In political leadership, Habib Jalib, Faiz Ahmed Faiz, Hassan Nasir, Sajjad Zaheer, Nazir Abbasi, Major Ishaq Muhammad, Sibat-e-Hassan, Eric Cyprian, they all were progressive leaders, and are my ideals.” Ali Aftab Saeed says, “I support all parties because weakness of one party can be the strength forthe other. And I feel they are playing unintentional role in the development of Pakistan. And I feel Benazir Bhutto, of course, was a hope as a leader but even if she would be alive right now, she also could not do anything in these circumstances.”
Rahat Fateh Ali Khan says, “Being an artist, I don’t feel I can have any affiliation to a particular political party, not even with the borders. For me, the political party, which works for the betterment of the country and the nation, is worthy. But I don’t prefer any current politician or political leader. I only like Quaid-e-Azam Muhammad Ali Jinnah, and he must be the role model for the leaders of the day too.” When you like someone, you will be less critical about him or her, responds Ali Gul Pir, “I am not affiliated to any political party as I make satires, so I avoid any kind of political bias. Everyone has flaws, no political party is perfect in Pakistan. To be honest, when I was a kid, I used to adore the charisma of Zulfiqar Ali Bhutto’s personality and liked him as a charming leader. But no political leader is even near to perfect, these days.”
F. Viewers’ feedback The findings also discuss the response of the audience re-counted by the famous vocalists and producers in Pakistan. Grateful on the positive feedback on his songs, Rahat Fateh Ali Khan says, “I have received appreciation and immense love from people until now, and I’m very thankful for that.” Sahir Ali Bagga says, “People love my music, and it makes me happy. Sometimes I have been criticized too, but it doesn’t discourage me. My songs for ISPR are very much appreciated.” Taimur Rahman chuckles, “Reaction on my music videos is very optimistic, nobody knows me before I started music, but now everyone recognizes me with the name of my band. Even the people who were against our ideology, loved our choice and collection of poetry.”
Public welcomes alternate opinions, says Ali Aftab Saeed, “I never thought that people are ready for alternate ideology, I am very happy with the positive feedback from public. I believe that the market runs on demand and supply. If people are liking alternative opinions, it means that this ideology exists. I feel people seek for the other narratives but they find no options.” Ali Gul Pir adds, “Response is wonderful. I spend money on a music video that does not give any profit. All what I get through political Rabia Noor 693
satire, is love from the audience, fan following, and that excites me.” It explains that all the musicians and singers or producers, making political music videos in Pakistan, are receiving appreciation and positive feedback from the audience.
VI. Conclusion and Recommendations The study examines the socio-cognitive processes involved in the making of the sociopolitical music videos, by practically applying the ideological approach of Altman (1987) where he claims that viewers are manipulated by the political and financial interests of the producers of media content. The findings of the in-depth interviews of music video producers, lyricists and singers have revealed six themes which clearly show that composers and singers, producing patriotic music videos, mostly hold a strong musical family background, but professionals without similar background are working on satire; whereas well-educated and socially active artists are producing serious social and political content. Ideological roots of political music videos associates with nationalism, social vices, crooked political system, political cognizance and progressive foundations. ISPR sponsors most of the patriotic music videos amplifying the valor and heroism of armed forces and the sacrifices of martyrs, positive image of military to construct progressive national identity. Music videos with alternative narratives through political satire are not sponsored by any institution or corporate sector, they usually are discretely self-financed, although non-satirical sociopolitical music videos are generally aided by NGOs and social projects, and sometimes they are self-sponsored. Significant political happenings and impactful incidents, hitches in the social system and a state of conflict elicits the production of political music videos.
Media is the most reliable institution of the state for most of the music video producers, as it takes them on board and promote their content, but not everyone relies on conventional media, some of the producers are sharing their content on social media only. The producers financed by ISPR or government have faith in both of these state institutions, whereas the active workers of political parties are producing their own content for their campaigns and to disparage others. Political affiliations do matter in the production of sociopolitical music videos, as some of the music video producers and singers are inclined towards a party, they are producing content fixed to favor them, but the musicians and singers doing satire try not to be biased with any particular political party as they are ridiculing everyone like Ali Gul Pir in his song ‘VIP’ and Ali Aftab Saeed in his song ‘Aalu Anday’ (Potatoes and eggs) and Faris Shafi in his music videos ‘Jawab Deh’ (Give me the answer!) and ‘Awaam’ (Public) are criticizing political leaders and army dictators in different epochs. Any ideology behind a media content is ultimately produced for the audience or to generate revenue; in case of Pakistani political music videos, producers and singers feel that they are getting positive feedback from the audience, even if they are not generating revenues on satirical content, but still their videos are appreciated by the viewers and they are enjoying a big fan following.
The context of these political music videos is somehow linked with the institutions that are trying to construct positive national identity, image building and self- elevation by financing these videos. Sometimes, socio-cognitive processes involved behind these videos are the protest against the malfunctions in social and political system. The study endorses ideological approach of Altman (1987) to the extent that government, 694 Pakistan Journal of Social Sciences, Vol. 38, No. 2
political parties, army and NGOs entice audiences into their interests. But the findings also suggest an enhancement in this approach by concluding that politically cultivated class also uses this medium of music videos for the gratification of their need to protest against the inadequacies and flaws in the system to sensitize the audience. The study has identified alternative narratives in the form of protest, against the faulty system and the awareness regarding the flaws in different institutions of the state and the society. So the research concludes that, “Different institutions attract audiences into their interests, but politically cultivated class is also producing sociopolitical music videos for the gratification of their need to protest against the imperfections in the system and to educate and aware the audience.”
References Altman, R. (1987). The American film musical. Bloomington, IN: Indiana University Press. Fraser, J. (2013). The Art of Grieving: West Sumatra's Worst Earthquake in Music Videos. Ethnomusicology Forum, 22:2, DOI: 10.1080/17411912.2012.707855 Garfias, R. (2004). Music: The Cultural Context. Senri Ethnological Reports 47. National Museum of Ethnology, Osaka. Harper-Scott, J., & Samson, J. (Eds.). (2009). An Introduction to Music Studies. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511801167 Naficy, H. (1998). Identity Politics and Iranian Exile Music Videos. Iranian Studies, Vol. 31, No. 1, Iranians in America. Niazi, M. A. (2014). The Pillar of State. The Nation. Retrieved from https://nation.com.pk/09-May-2014/the-pillars-of-state Noor, R. (2018). Sociopolitical Narratives in Pakistani Music Videos (2007-2017). (Unpublished Doctoral Dissertation). University of the Punjab, Lahore, Pakistan. Paracha, N. F. (2014). Street dancing years: The golden age of Pakistani pop music. Dawn News. Retrieved from https://www.dawn.com/news/1093337 Rosenberry, J. VIcker, L. A. (2017).Applied Mass Communication Theory, A Guide for Media Practitioners. 2nd Edition, Routledge. Van Dijk, T. A. (1998). Ideology: A Multidisciplinary Approach. Sage Publications. pp. 316-327 Van Dijk, T. A. (2016). Sociocognitive Discourse Studies. Retrieved fromhttp://www.discourses.org/OldArticles/Sociocognitive%20Discourse%20St udies.pdf