Protest song
A protest song is a song that is associated with a movement for protest and social change and hence part of the broader category of topical songs (or songs connected to current events). It may be folk, classical, or commercial in genre.
For the Prefab Sprout album, see Protest Songs (album).
Among social movements that have an associated body of songs are the abolition movement, prohibition, women's suffrage, the labour movement, the human rights movement, civil rights, the Native American rights movement, the Jewish rights movement, disability rights, the anti-war movement and 1960s counterculture, art repatriation, opposition towards blood diamonds, abortion rights, the feminist movement, the sexual revolution, the LGBT rights movement, animal rights movement, vegetarianism and veganism, gun rights, legalization of marijuana and environmentalism.
Protest songs are often situational, having been associated with a social movement through context. "Goodnight Irene", for example, acquired the aura of a protest song because it was written by Lead Belly, a black convict and social outcast, although on its face it is a love song. Or they may be abstract, expressing, in more general terms, opposition to injustice and support for peace, or free thought, but audiences usually know what is being referred to. Ludwig van Beethoven's "Ode to Joy", a song in support of universal brotherhood, is a song of this kind. It is a setting of a poem by Friedrich Schiller celebrating the continuum of living beings (who are united in their capacity for feeling pain and pleasure and hence for empathy), to which Beethoven himself added the lines that all men are brothers. Songs which support the status quo do not qualify as protest songs.[1]
Protest song texts may have significant specific content. The labour movement musical Pins and Needles articulated a definition of a protest song in a number called "Sing Me a Song of Social Significance". Phil Ochs once explained, "A protest song is a song that's so specific that you cannot mistake it for BS."[2] Some researchers have argued that protest songs must express opposition or, at the very least, offer some alternative solutions if they are limited to drawing attention to social issues.[3] A broad definition, which does not exclude any upcoming form of creativity, defines a protest song as one performed by protesters.[4]
An 18th-century example of a topical song intended as a feminist protest song is "Rights of Woman" (1795), sung to the tune of "God Save the King", written anonymously by "A Lady" and published in the Philadelphia Minerva, October 17, 1795. There is no evidence that it was ever sung as a movement song, however.[5]
Africa[edit]
Algeria[edit]
Raï (Arabic: "opinion" رأي) is a form of folk music, originated in Oran, Algeria from Bedouin shepherds, mixed with Spanish, French, African and Arabic musical forms. Its origins date back to the 1920s and has been primarily evolved by the women referred to as cheikhas, who performed in cafes, bars or bordellos, often for men.[11] A typical performance included the cheikhas accompanied by two to four male instrumentalists playing a gasba (a wooden flute) and gallal (a metal drum). Rai was considered a rejection of the traditional Algerian music of the time, and the cheikhas " . . . used lewd lyrics focusing on the hardships of life facing peasant women in a big city, the pain of love, the lure of alcohol, immigration, and mourning."[11]
By the 1950s, and through the 1960s, male musicians began performing rai music and incorporated the use of what was considered to be modern musical instruments of that time, such as the violin, the accordion, the lute, and the trumpet.[11] As the genre evolved over time, it continued to have associations with political movements and organizations, such as the Algerian Freedom Fighters who rallied against the French occupation. Even after Algeria achieved independence in 1962, Rai continued to have an adverse relationship with the Algerian government, which exerted a tight grip upon its culture. In fact, Raï had been banned from broadcast media, though it thrived in underground spaces, such as cabarets.[11] It was forbidden to the point of one popular singer, Cheb Hasni, being assassinated. However, since the government lifted its restrictions on rai in the 1980s, it has enjoyed some considerable success.
The song "Parisien Du Nord" by Cheb Mami is a recent example of how the genre has been used as a form of protest, as the song was written as a protest against the racial tensions that sparked the 2005 French riots. According to Memi:
Asia[edit]
China[edit]
Chinese-Korean Cui Jian's 1986 song "Nothing to My Name" was popular with protesters in Tiananmen Square.
Chinese singer Li Zhi made references to the Tiananmen Square massacre in his songs and were subsequently banned from China in 2019. Three years later, during the anti-lockdown protests in China, this was used as a protest song across YouTube.
Hong Kong[edit]
Hong Kong rock band Beyond's "Boundless Oceans Vast Skies" (1993) and "Glory Days" (光輝歲月) (1990) have been considered as protest anthems in various social movements.
During the 2019–20 Hong Kong protests, Les Misérables' "Do You Hear The People Sing" (1980) and Thomas dgx yhl's "Glory to Hong Kong" (2019) were sung in support of the movement. The latter has been widely adopted as the anthem of these protests, with some even regarding it as the "national anthem of Hong Kong".[24][25]
India[edit]
Cultural activism in India has always been considered one of the most effective tools to mobilise people into making a social change since pre-independence times.[26] India provided many examples of protest songs throughout its struggle for freedom from Britain.[27]
Indian rapper Raftaar's "Mantoiyat" lashes out at corrupt politicians and police and brings to light injustices that plague the country. In the song he talks about deep rooted issues and brings light to the hypocrisy of the people and the government.[28] Artists such as Poojan Sahil, Seedhe Maut, Vishkyun, Prabh Deep, Rapper Shaz, Sumit Roy & Ahmer usually talk about social issues in their songs.[29][30] The rock fusion band Indian Ocean's song "Chitu" was one of their first and prominent songs, a tribal anthem that Ram had come across over the course of being involved in the Narmada Movement.[31]
In 2019, India's citizenship Law led to a mass protest all over the country. Artists like Varun Grover, Poojan Sahil, Rapper Shaz & Madara joined the cause with their own sonic protest.[32][33]
In more contemporary times, protest music has been a regular feature of movements in India. The Dalit rights movement especially uses music to further its goals. The Kabir Kala Manch is one such well known troupe of singers who used their performances to raise awareness and support for their cause. The widely acclaimed[34] documentary film, Jai Bhim Comrade, highlighted the work of Kabir Kala Manch and presented this form of protest music to both Indian as well as international audiences. Similar, albeit less known, Dalit musical groups exist in various parts of India.
The leftist movements of India too use protest music along with street plays as a means to propagate their message amongst the masses. Protest music was a big feature of plays organized by the Indian People's Theatre Association (IPTA). Similar organisations formed after the break-up of IPTA and highly influenced by its work, like the Jana Natya Manch (JANAM), also made protest music a regular feature of their plays. In recent decades, however, the Left's cultural activism has increasingly been relegated to the margins of the cultural sphere. Some attribute this to the political decline of the mainstream Left in India, as well as a shift in focus to local movements and languages as identity politics took a greater hold of Indian Polity.[35]
Protest music also features regularly in protests held by other mainstream national parties of India.
Iran[edit]
Fereydoun Farokhzad's "Sad Eastern" —which its title is referring to Iranian people— is considered as one of the first Iranian protest songs. Due to the free speech limitations at the time of the song was first sang (1969 or 1970), it is a light protest song talking about "freedom" and "not giving up of our land" Iran.[36]
Since it is illegal to criticize the government and social issues in Iran after the 1979 Iranian Revolution, most of the Iranian artists who make protest songs live abroad. Protest songs in Iran have a long history due to the long history of Human rights violations by the Islamic Republic of Iran.[37]
One of the most important protest songs of Iran is Hichkas's "A Good Day Will Come" which is often considered as the most influential Iranian protest song. "A Good Day Will Come" was released a year after the 2009 Iranian presidential election protests, one of the most violent protests in Iran.[38][39]
"Iran Iran" which is the debut single of rapper Fadaei, was also released a year after the 2009 Iranian presidential election protests mentioning the killing of Neda Agha-Soltan and the 2009 Kahrizak Detention Center disaster.[40][41][42]
After the death of over 1500 protesters in the 2019–2020 Iranian protests —which is best known as Bloody November due to its massive brutality— Iranian artists who live abroad released many protest songs include Hichkas's "Clenched His Fists" —which was released one month after the start of the protests— and "Hit", Fadaei's "Overthrow" (also mentions 2021 Sistan and Baluchestan protests) and "From Karaj to Langerud" (Inspired by the death of Pezhman Gholipour). As of now, Bloody November has been mentioned many times in protest songs.[43]
After the death of Mahsa Amini on September 16, 2022, who was arrested for alleged wearing her Hijab improperly and later died after she had been —according to eyewitnesses— severely beaten by religious morality police officers, a massive global protests sparked all around the world and many Iranian artists released protest songs. Among all of the songs, Shervin Hajipour's "For" —which was released twelve days after Amini's death— became an instant hit and immediately turned into the unofficial "anthem" of the uprising. It was widely used during gatherings, from schools and universities to streets, both nationwide and across the globe. It was broadly circulated in social media and foreign TV channels and radio stations as well. The song also served as the backdrop for several other forms of art such as video works, graphic design and performance art. On November 11, 2022, Roxana Saberi reported the song as "the most viral tune to ever come out of Iran".[44] Since its release, "For" has become the single most covered protest song in Iran's history.[45] Hajipour was later arrested for the song and released on bail five days later, banned from any musical activity.[46]
Other Iranian notable protest songs which were released during Mahsa Amini protests includes Mehdi Yarrahi's "Woman's Anthem", "Life's Anthem" and "Cage is Enough", Hichkas's "This One Is Also For", Fadaei's heavy political theme album "Right" —which includes "Tawaf" and "Blood" protest songs— and "Conquer" (Inspired by the execution of Majidreza Rahnavard), Shapur's "Death to the Whole System", Toomaj Salehi's "Battleground" and "Omen", Ethnic Musician's "Freedom's Anthem", Koorosh and Sami Low's "Us", Shahin Najafi's "Gen Z" and "The Morning of Revenge".
Majid Entezami's "Khorramshahr Symphony" —which was re-released on October 13, 2022, and its title is referring to Khorramshahr's 1980 and 1982 battles— was also used multiple times on protest videos including women cutting their hair and calls for protests.[47]
Many artists have been arrested in Iran after releasing protest songs following the 2022 Mahsa Amini protests includes Shervin Hajipour, Mona Borzouei (Lyricist of Mehdi Yarrahi's "Woman's Anthem") and Toomaj Salehi. Salehi was arrested on October 30, 2022, for his social awareness activities on his social media and releasing the two protest songs "Battleground" and "Omen" during the Mahsa Amini protests. On November 27, 2022, Iranian media revealed that Salehi was charged with "corruption on Earth", an offense which could carry the death penalty.[48][49]
In March 2023, rapper Fadaei released another protest song associated with the 2022–2023 Iranian protests titled "Black".[50] The song was very controversial due to its Maddahi singing style mixed with pop music. It also contains heavy protest lyrics and Chaharshanbe Suri-Muharram-Nowruz themes.
Europe[edit]
Belarus[edit]
The first famous Belarusian protest songs were created at the beginning of the 20th century during the rise of the Belarusian People's Republic and war for independence from the Russian Empire and Soviet Russia. This period includes such protest songs as "Advieku My Spali" ("We've slept enough", also known as Belarusian Marselliese) and "Vajaćki Marš" ("March of the Warriors"), which was an anthem of the Belarusian People's Republic. The next period of protest songs was in the 1990s, with many created by such bands as NRM, Novaje Nieba and others, which led to the unspoken prohibition of these musicians. As an example, Lavon Volski, frontman of NRM, Mroja and Krambambulia, had issues with officials at the majority of his concert due to the criticism of the Belarusian political system. One of the most famous bands of Belarus, Lyapis Trubetskoy, was forbidden from performing in the country due to being critical of Aleksandr Lukashenka in his lyrics. These prohibitions lead most "forbidden" bands to organize concerts in Vilnius, which, though situated in modern Lithuania, is considered to be a Belarusian historical capital because less than a hundred years ago most dwellers of Vilnius (Vilnia, as it was called before it was given to Lithuania) were Belarusians. But in the middle of the 2010s, the situation began to change a bit and many protest bands started to organize concerts in Belarus.
Estonia[edit]
Many of the songs performed at the Estonian Laulupidu are protest songs, particularly those written during the Singing Revolution. Due to the official position of the Soviet Union at the time, the lyrics are frequently allusive, rather than explicitly anti-Soviet, such as Tõnis Mägi's song Koit. In contrast, Eestlane olen ja eestlaseks jään, sung by Ivo Linna and the group In Spe is explicitly in favour of an Estonian identity.
Finland[edit]
Finland has a tradition of socialist and communist protest songs going back to the Finnish Civil War, most of which were imported and translated from Soviet Russia. In the 21st century the socialist protest song tradition is somewhat continued by left wing rap artists and to lesser degree in more traditional Taistoist form by KOM-theatre choir.
France[edit]
"The Internationale" ("L'Internationale" in French) is a socialist, anarchist, communist, and social-democratic anthem.[72][73]
"The Internationale" became the anthem of international socialism. Its original French refrain is C'est la lutte finale/ Groupons-nous et demain/ L'Internationale/ Sera le genre humain. (Freely translated: "This is the final struggle/ Let us join together and tomorrow/ The Internationale/ Will be the human race.") The "Internationale" has been translated into most of the world's languages. Traditionally it is sung with the hand raised in a clenched fist salute. "The Internationale" is sung not only by communists but also (in many countries) by socialists or social democrats. The Chinese version was also a rallying song of the students and workers at the Tiananmen Square protests of 1989.[74]
There is not so much a protest song trend in France, but rather of a permanent background of criticism and contestation, and individuals who personify it. World War II and its horrors forced French singers to think more critically about war in general, forcing them to question their governments and the powers who ruled their society.
Jazz trumpeter and singer Boris Vian's was one of the first to protest against the Algerian war with his anti-war song "Le déserteur" (The deserter), which was banned by the government.[75]
Several French songwriters, such as Léo Ferré (1916–1993), Georges Brassens (1921–1981), Jacques Brel (1929–1978) (actually a Belgian singer), Maxime Le Forestier (born 1949) or interpreters (Yves Montand, Marcel Mouloudji, Serge Reggiani, Graeme Allwright ...) often wrote or sang songs aligned against majority ideas and political powers. Because racial tensions did not rise to the same levels as those in the United States, criticism was focused more toward bourgeoisie, power, religion, and songs defending liberty of thought, speech and action. After 1945, immigration became a source of inspiration for some singers: Pierre Perret (born 1934), well known for his humorous songs, started writing several more "serious" and committed songs against racism ("Lily", 1977), which critically pointed out everyday racist behaviour in French society.
Brassens wrote several songs protesting war, hate, intolerance ("Les Deux Oncles" ["The Two Uncles"], "La Guerre de 14–18" ["14–18 War"], "Mourir pour des idées" ["To Die for Ideas"] "Les Patriotes" ["The Patriots"] ...), against chauvinism ("La Ballade des gens qui sont nés quelque part" ["Ballad of People Who Are Born Somewhere"]), against bourgeoisie ("La Mauvaise Réputation" ["The bad reputation"], "Les Philistins" ["The Philistines"] ...). He was often called "anarchist" because of his songs on representatives of law and order (and religion) ("Le Gorille" ["The gorilla"] "Hécatombe" ["Slaughter"] "Le Nombril des femmes d'agents" ["The navel of cops wives"], "Le Mécréant" ["The miscreant"] ...).
Ferré was also called an "anarchist". He sang against consumerism ("Vitrines" ["Shop Fronts"], "Chanson mécanisée" ["Mechanized Song"], "Il n'y a plus rien" ["There is nothing left"] ...), against French war ("Miss guéguerre" ["Miss Squabble"], "Pacific blues", "Regardez-les" ["Look at them"], "Mon général" ["My general"], "Les Temps difficiles" ["Hard Times"], "La Marseillaise"), death penalty ("Ni Dieu ni maître" ["No God no Master"], "La Mort des loups" ["The Death of the Wolves"]), Estate control ("La Gueuse", "La Complainte de la télé" ["Lament of TV"], "La Révolution" ["Revolution"], "Le Conditionnel de variétés" ["Middle of the road music conditional mood"]), illusion of representative democracy ("Ils ont voté" ["They voted"], "La Grève" ["Strike"]), dictatorships ("Franco la muerte", "Allende", "La Violence et l'Ennui" ["Words ... Words ... Words ... "]), sexual hypocrisy and freedom ("Le Chien" ["The Dog"], "Le Mal" ["Evil"], "Ton style" ["Your style"], "La Damnation" ["Damnation"] ...).
Brel's work is another ode to freedom ("Ces gens-là" ["These people"], "Les Bourgeois" ["The Bourgeois"], "Jaurès", "Les Bigotes" ["The bigots"], "Le Colonel" ["The colonel"], "Le Caporal Casse-Pompon" ["Corporal Break-Nots"]).
Germany[edit]
Ton Steine Scherben, one of the first and most influential German language rock bands of the 1970s and early 1980s, were well known for the highly political lyrics of vocalist Rio Reiser. The band became a musical mouthpiece of new left movements, such as the squatting movement, during that time in Germany and their hometown of West Berlin in particular. Their lyrics were, at the beginning, anti-capitalist and anarchist, and the band had connections to members of the German Red Army Faction movement before they became illegal. Later songs were about more complex issues such as unemployment ("Mole Hill Rockers") or homosexuality ("Mama war so"). They also contributed to two full-length concept album about homosexuality, which were issued under the name Brühwarm (literally: boiling warm) in cooperation with a gay-revue group.
A dissatisfied German youth in the late 1970s and early 1980s resulted in a strand of highly politicized German-language Punkrock ("Deutschpunk"), which mostly concerned itself with politically radical left-wing lyrics, mostly influenced by the Cold War. Probably the most important German-language punk band was Slime from Hamburg, who were the first band whose LP was banned because of political topics. Their songs "Deutschland" ("Germany"), "Bullenschweine", "Polizei SA/SS", and the anti-imperialist "Yankees raus" ("Yankees out") were banned, some of them are still banned today, because they propagated the use of violence against the police or compared the police to the SA and SS of Nazi Germany.
The Cologne-based rock group BAP is known for their committed and intelligently written lyrics, dealing with discrimination and the power games of Germany's political elites in many of their songs. The song "Kristallnaach" (1982) is a point in case. It analyses the corruptibility of the present-day masses for new forms of fascism, while referring to the "Night of Broken Glass" that took place in 1938.
In East Germany, protesting against the state was often prohibited.[76] Despite this, the song Ermutigung by Wolf Biermann became a widely popular protest song against the SED government.[77]
North America[edit]
Cuba[edit]
A type of Cuban protest music started in the mid-1960s when a movement in Cuban music emerged that combined traditional folk music idioms with progressive and often politicized lyrics. This movement of protest music came to be known as "Nueva trova", and was somewhat similar to that of Nueva canción, however with the advantage of support from the Cuban government, as it promoted the Cuban Revolution – and thus part of revolutionary song.
Oceania[edit]
Australia[edit]
Indigenous issues feature prominently in politically inspired Australian music and include the topics of land rights, and aboriginal deaths in custody. One of the most prominent Australian bands to confront these issues is Yothu Yindi. Other Australian bands to have confronted indigenous issues include Tiddas, Kev Carmody, Archie Roach, Christine Anu, The Herd, Neil Murray, Blue King Brown, the John Butler Trio, Midnight Oil, Warumpi Band, Paul Kelly, Powderfinger and Xavier Rudd.
In addition to Indigenous issues, many Australian protest singers have sung about the futility of war. Notable anti-war songs include "And The Band Played Waltzing Matilda" (1972) by Eric Bogle, and "A Walk in the Light Green" (1983) by Redgum, most often remembered by its chorus "I was only nineteen".
New Zealand[edit]
One of the earliest protest songs in New Zealand was John Hanlon's Damn the Dam, recorded in 1973 in support of the Save Manapouri Campaign.
During the bitterly divisive 1981 Springbok Tour, Blam Blam Blam's There Is No Depression in New Zealand became a favourite among anti-tour protesters. Reggae band Herbs wrote and performed songs criticising French nuclear testing in the Pacific Ocean.