Performing Arts and Music as a way to Promote Change

From reducing social stigma surrounding mental health and the LGBTQ+ community, to promoting equality in the black community, to educating about the horrors of Female Genital Mutilation, music and the performing arts are promoting and normalizing change world wide. Historically, society has been reluctant to alter their negative perception of change into a positive one. The controversy of the “new” and opinions held down by hundred pound weights, makes it very difficult for an individual or organization, to make a positive alteration to a  perceived defect in society. However, music and performing arts has carved out a path to express messages to thousands without it feeling like change is the hand smacking oneself in the face. Everyone listens to music. If everyone understands the same message they can all work together to create change. The extent to which performing arts and music can promote, normalize and reduce the fear of change is large. However, no solution is perfect. Artists are fueling this movement for change with the lyrics that they preach, as well as how they represent themselves as creators. Moreover, performers are normalizing issues as a result of depiction in music videos; they are educating, providing a visual representation of the social injustice highlighted in their music. In a recent study, community music is introduced as a way of tackling mental health related stigma.  Music has the ability to reach people at all ages of their lives. Everyone can take in the information at their own speed without it feeling rushed. When used positively, music is a welcoming form of media, not derived from hate but created to spread love amongst others.

The individuals who are the driving force of the music for change movement that has been an ongoing challenge for years, are the artists themselves. They are the creators, the lyricists, the activists, the influencers who devote their life to humouring society; educating people of the social injustices of the world and allowing listeners to form their own opinions on the topic. Artists express themselves through their lyrics, creating poetry to be musically spoken in order to encapsulate the souls of others. Kendrick Lamar (Duckworth) is a well known american, songwriter, rapper and music producer. Regarded as on the the most skillful artists of his generation. He has won 143 awards and has been nominated for 362. Two of his most impressive awards were Grammys for best rap Album in 2018 for his album, DAMN, and in 2016 for his album, To Pimp A Butterfly (Hale). To Pimp A Butterfly is a rap album created by Kendrick Lamar in collaboration with his producers and other artists like Flying Lotus. Kendrick states that he wanted to "break down the idea of [the black community] being pimped in the industry (Hale). In his song "complexion", Kendrick reflects on the separation of light skins and dark skins in the black community. He “wanted to make a record that reflected the beauty of all complexion of black women” (Hale). This album's theme is essentially covering the social issues of being a black individual in America. His song “ “Alright” wasn't originally intended to be a protest song but in the end the song ended up empowering members of the community (Hale). Kids marched to the song and the reaction of the creators of this album was incredible. They stated that they “cried like babies” because they were “doing something”. They claim that music is their “vessel” to get the message out (Hale).  Kendrick Lamar has consistently been an artist who preaches equality and advocates for social justice. His compelling lyrics as well as perfectly engineered musical backgrounding in his songs, make for spreading the message to be quite easy. His albums DAMN and To Pimp A Butterfly, create a musical story that compels the listeners to pay attention to the meaning of each song. He is a musical poet reaches certain audiences that would not normally be reached. His actions in the black community are admirable and have made a great effort to help reduce the conflict between light skins and dark skins. Due to the fact that music has no race and can be enjoyed by all people, he bridges the gap between races and brings them all together to listen to the greater message. If people from all different backgrounds can enjoy the same music, maybe all people should be treated the same...?

To continue, in the Afro- Francophone community, as well as around the world, performers and rappers are becoming the newest forms of activists. Their ability to connect with thousands of people in an inspiring and emotional way, creates change that is not seen as something to be afraid of. ““Rappers are the spokespeople for movements in society and they are the megaphones who preach change” said Professor Saïd Abbas Ahamed, of the intelectual that help with the organization of [activist and change] movements. “Their songs are a representation of what bloggers, journalists and activists are saying.  Between rappers and activists, the conversation is permanent and the relationship is dynamic; each influencing the other. The music and rhythm plays a role of societal internalization of the problems and needs for change”” (Airault). The new social activists, preaching change, have an advantage because of their ability to reach mass populations in a way that is interesting. Rapping about certain issues that are close to their hearts. Rappers work with social activists and researchers to educate the rappers on certain issues that torment the world. They work together to create the most accurate product. “Francophiles, artists have a deep love for their country, but also a real lack of understanding in the face of the passivity of their people, not always inclined to defend the values of justice, democracy and social equity” (Airault). This lack of inclination to stand up for change and freedom is the reason why education in the form of music needs to exist. Tiken Jah Fakoly is one of the Afro-Francophone artists who is considered to be a Human Rights Champion, credited by the UN (The United Nations). Tiken Jah Fakoly was the songwriter and performer on the song Non à L'excision which is song standing up to the “cutting”of girls, Female Genital Mutilation. He sings  “Un homme est sur son ventre [a man is on her stomach], Son corps ne répond même pas [her body doesn't even respond], Elle voulait bien qu’il entre [she would let him in], Mais elle ne le sent même pas [but she doesn't even feel it](Tiken Jah Fakoly 0:00 - 1:35). Stating that a women and a man in a romantic relationship are trying to show their love for each other but they can't because she doesn't feel anything because she has been cut. Her genitalia is disfigured due to the cutting. “Non à l'excision ! Non à l'excision ! [Do not cut, Do not cut]. Ne les touchez plus elles ont assez souffert [Do not touch them they have suffered enough] (Tiken Jah Fakoly 2:30) The chorus of the song is a cry out to the men and women who chose to remain practicing this “tradition”. In the years after this song was released cutting decreased and in certain countries like Tanzania “cutting” was rendered illegal. By creating music that encapsulates the horrors of FGM, Tiken is able to reach the emotional level of individuals. It is important to not only inform members of society but to impact them in a way that will promote change to happen.

It is not solely the music that is created which affects individuals and provokes change. Music videos are the final product that encapsulates everything the artist wishes to emulate. Arguably music videos are a form of performing arts themselves. Their distinct design and message focused story line, following the lyrics of the music, provide a visual that is otherwise missed when simply appreciating the music from an auditory perspective. Fine details of the message are missed without the visual to go along with the music. Stromae is a Belgian singer who is considered to be a social activist, constantly releasing thought provoking music. In French his songs are considered as les chansons engagées, which translates to social activism music. A large number of his songs are created to recognize and stand up for the LGBTQ+ community. In his music video Tous les Mêmes, the belgian singer is depicted as a half-man, half-women in order to symbolize gender fluidity and bisexuality. ““It is not an issue if the artists of today play with the roles of sexual identity”- states Stromae ” (Dubé).  Stromae claims that it is important for artist to “play with the roles of sexual identity” in order to get a message across; everyone, no matter your sexuality deserves to be loved (Dubé). “The young generation, who constantly states that they are the mater of their own destiny, adjusts everything in their path”(Dubé); stating that younger generation today, is evolving, socially and technologically. This generation is adjusting phone programs and instagram accounts to be more inclusive and accepting (Dubé). This change is being recognized in romance as well. Evolving to be more accepting, this generation alongside musical artists who depict non-heteronormative relationships in their music videos, are normalizing the LGBTQ+ community in society. Music videos like “Tous Les Mêmes” are perfect examples of what it is like to be a part of the LGBTQ+ community. It is refreshing to see so many artists promoting equality and having no shame being seen in the public eye as a member. When more and more artists have no fear and advocate for the community, LGBTQ+ becomes recognized as not just a group of people who are different, but a community that is welcomed and is ready to welcome everyone and anyone who supports it.

Performing arts also have their faults and music can be used negatively to create conflict or encourage illegal behaviour. Typically in american rap there is a lot of talk about violence, sexual exploitation of women and drugs. This is in itself is a social injustice. “Rap music has a reputation for being misogynistic” (Weitzer and Kubrin 3). ““That’s the way the game goes, gotta keep it strictly pimpin’, Gotta have my hustle tight, makin’ change off these women. You know it’s hard out here for a pimp, When he tryin’ to get this money for the rent.”‘‘It’s Hard Out Here For a Pimp’’—Three 6 Mafia” (Weitzer and Kubrin 4). These lyrics were criticized by many, including one magazine entitled Essence stated that the “lyrics contained extreme hostility and violence toward women” (Weitzer and Kubrin 4). The magazine then took action by “launch[ing] a campaign in 2005 against sexism in Rap music.” (Weitzer and Kubrin 4). However this misogynistic approach to rap music has decreased over the years where “Women are not portrayed monolithically, however (Butruille and Taylor 1987; Lay 2000; van Zoonen 1994), and lyrical depictions appear to have changed somewhat over time. It has been argued that the overall trend is one of ‘‘greater diversity, more complexity, and dramatically mixed messages about the individual female persona and women’s roles in society’’ (Lee 1999, 355)” (Weitzer and Kubrin 4). Arguably the characterization of women in rap music has changed for the better with the influence of other, more altruistic, rappers taking the stage to promote positive change. As stated above, when used positively, music is a welcoming form of media, not derived from hate but created to spread love amongst others.    

In a recent study, community music was introduced as a way to reduce the social stigma around mental health. The social stigma associated with mental health is an issue that has been attempted to be tackled for quite some time. In recent years the acknowledgment of mental health and the normalization of it, has become a common theme. However, it is still an issue. The paper suggests ways in which the personal and social experience of music can help normalize mental illness and diminish the stigma. “Stigma surrounding mental health issues is a social cognitive process, which also prevents access to both social and economic opportunities through discriminatory behaviour and prejudiced attitudes (Sickle et al., 2014: 204). Therefore, it could be said that the work of anti-stigma campaigns is seeking to restore social justice and create equal opportunities within society for those with a mental health-related issue”(Rodgers 2). Anti stigma campaigns in association with musical artists work together to create music that reaches out to the community and challenge the stigma. “Music is a democratic form of hospitality promoting equality and access beyond any preconceived limits”(Rodgers 4). With regards to the stigma around  mental health, the reason why it occurs is because individuals who don't understand mental health, make false judgements and have an almost fear of the illness. People are marginalized and devalued in society. If a community is brought together through music and educated on the realities of mental illness this stigma decreases. This change in society's beliefs is a less fearful procedure and more and more people are accepting of this change because they were all affected by the same music.

Consequently, performing arts and music has become one of the most influential ways to motivate change due to its desirability. It is a form of media which allows the population to grasp onto the preached message on their own time; allows for guided opinions to be formed. Music reaches not only the intellectual frontal cortex portion of the brain but also the hippocampus, which is the emotion centre of the brain. This dissemination of information is only possible due to the efforts of the artists and the lyrics that they create. Moreover, the way in which they depict members of the community in their music videos, normalizes their presence in society. Thus, reducing society’s overall fear of acceptance. Finally, this incorporation of music to promote change has been found in academic studies to reduce the mental-health relate stigma that is so prevalent in the community. This use of music to vocalize a message is not a recent endeavor. Take for example Bob Dylan’s “Blowin’ in the Wind” released in 1963. “How many roads must a man walk down, Before you call him a man?”(Bob Dylan 0:00- 0:25). He touches on the racism that was, but is less so now, prevalent towards the non-white community. However, the way in which he wrote his lyrics was extremely hypothetical and did not offer a clear form of education. Whereas the music released by the artists of today are focused directly on education and touching the emotional cortex of the brain. Moreover, this young generation has witnessed the aftermath of all the horrors of discrimination that have happened in the past and are willing to make a change; the generation simply needs a guiding voice to choose what they want to accomplish. This motivator is music and the performing arts, successfully creating change by reducing fear and stigma in a soul touching way.    

Works Cited

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Branagan, Martin. "ENVIRONMENTAL EDUCATION, ACTIVISM AND THE ARTS." Convergence, vol. 38, no. 4, 2005, pp. 1-7. Ebsco: Academic Search Premier, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=27769787&site=ehost-live. Accessed 27 Feb. 2019.

Cardany, Audrey Berger. "Reading about the Power of Music." General Music Today, vol. 29, no. 2, Jan. 2016, pp. 29-34. Ebsco: Academic Search Premier, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=111943543&site=ehost-live. Accessed 4 Mar. 2019.

Dubé, Catherine. "La Nouvelle Révolution Sexuelle ?" ["The New Gender Revolution"]. L'actualié, 14 Sept. 2015, lactualite.com/societe/2015/09/14/la-nouvelle-revolution-sexuelle/. Accessed 1 Mar. 2019.

Hale, Andreas. "'To Pimp A Butterfly': Kendrick Lamar shares history." The Recording Academy: Grammy Awards, 15 May 2017, www.grammy.com/grammys/news/pimp-butterfly-kendrick-lamar-shares-history. Accessed 4 Mar. 2019.

Powers, Ann, et al. "The Power of Music." Nation, vol. 276, no. 2, 1 Jan. 2003, pp. 11-17. Ebsco: Academic Search Premier, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=8791870&site=ehost-live. Accessed 27 Feb. 2019.

Proirier, Agnes. "Stromae: European youth's favourite misery muse." The Guardian, 27 Oct. 2013, www.theguardian.com/music/2013/oct/27/belgian-rapper-stromae-eurozone-disaffected-youth. Accessed 1 Mar. 2019.

Rodgers, Debra. "Community music as a vehicle for tackling mental health-related stigma." London Review of Education., vol. 15, no. 3, Nov. 2017, pp. 474-87. Ebsco: Academic Search Premier, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=126605192&site=ehost-live. Accessed 4 Mar. 2019.

Tiken Jah Fakoly, lyricist. "Non À L'excision." L'africain, performance by Tiken Jah Fakoly, 2007. Spotify, open.spotify.com/album/6FkWjdDpHuFEWYltOG9vsU. Accessed 1 Mar. 2019.

The United Nations. "Human Rights Champions." Stand Up 4 Human Rights, United Nations, www.standup4humanrights.org/en/hr-champions-tjfakoli.html. Accessed 13 Mar. 2019.

Weitzer, Ronald, and Charis E. Kubrin. "Misogyny in Rap Music." Men and Masculinities, vol. 12, no. 1, Oct. 2009, pp. 3-29. Ebsco: Academic Search Premier, doi:10.1177/1097184X08327696. Accessed 14 Mar. 2019.