Paintings and Music as Tools of Protest and Resistance during the Post Cold-War Period - Research Paper Example

Subculture Art Forms: Paintings and Music as Tools of Protest and Resistance during the Post Cold-War Period IntroductionGenerally our society and culture are related to each other in a way that culture is bound to reflect the people’s beliefs, values, and practice in a society. Therefore the changes in a society are also reflected in the existing culture. Cultural art is also expected to replicate those beliefs and practices of the people of a cultural community since the scope of traditional cultural art is, to a great extent, restrained by the societal power factors, such as the state authority, various social organizations, and established dissident groups. Unlike the traditional dominant culture, subculture is formed by a group of people who do not go along with the line of existing beliefs and practices. Therefore, subcultural art is more rigorous to dissent against certain aspects of the society what the subcultural people believed to be oppressive and tyrannical. The most effective but the non-violent forms that the subcultural people use to demonstrate against tyrannical entity in a society are art and music. Whereas the dominant cultural arts are confined to criticize any ailing social aspects in mild and insinuative metaphorical expressions, subcultural arts and music often are found to follow a more sarcastic way. (Smith 112) The use of art to demonstrate and to dissent against the tyrannical social aspects was the most extensive in the post Second World War period. Indeed the rising subcultural demonstration was a response to the drastic socioeconomic and political changes in the countries that were primarily supposed to be induced by the drastic transitions in the global power structure and economy due to some epoch-making historical events such as the fall colonial power, the Second Word War, the Cold War and the economic depressions of the 1960s. (Klamer 35-36) Background of the Study Rapid urbanizations with the blessings of science and technology, the massive practice of the rationalistic view of human life, the decay of blind and rigorous religiosity, the massive awareness of man’s rights and roles in the political power especially in democracy, and the rise of the industrial working class gave birth to innumerous cultural and countercultural movements in the post Second World War period and especially in the 1960s. Whereas the traditional cultural art and literature were found to be preoccupied with the prospects of an elegant life based on the blessings of science and technology, the subcultural art and music primarily focused on the consequential negative impacts of the modernity-induced transformations in the society. Lack of a stable and established cultural basis exclusively marked the societies in the 1960s. Various social movements and counter social movements were violently competing with each other to grab a strong hold in the disordered and transient social context. This tumultuous social context was further aggravated by the economic depression of the 1970s because meanwhile the postwar dream of a poverty-free prosperous life was violently shaken by it. (Blokker 61-67) One more thing that quivered the postwar socioeconomic contexts in the countries is the introduction of Cold War. Indeed, the origin of the Cold War lies in rising conflict between capitalism and communism in the 1970s. Though communism as a state power was born about 30 years before the Second World War, in the postwar period it sought more space as a socio-political movement in a global environment, as Capitalism emerged a reinstated force in response to the global economic depression in the 1960s. (Klamer 37) According to Klamer, in the context of economic depression the disillusionment demanded some economic and political reforms both nationally and internationally throughout the 1980s and consequently, the capitalist trends came into conflict with communism while, both sectors focused their attention on accumulating military power and warring capability by investing billions of dollars in intense militarization, making both conventional and non-conventional weapons of mass destruction such as nuclear weapon, star wars, intercontinental ballistic missiles etc. (61-67) Thus social welfare agendas rolled back from the states’ focus of attention behind the curtain of the military tension of Cold War. Though the existing culture with its mass media communicative capability retained the mass popular consent and support for this eccentric militarization, subcultural art forms were found to dissent against the impacts on the socioeconomic conditions of people’s daily life. (Barnett 34-37) Objectives of this Study In the first place, this paper will explore how various post-war underground cultural and subcultural forms of arts such as visual art, music, movies, etc had responded to the social movements as well as changes during the post Second World War period. In this paper, I have chosen the punk culture along with its art, music, painting, and other notable and influential forms of art as the cases studies of this paper. Particularly, punk cultural development will be considered as the primary case of investigations in order to trace the transition from one period to another. The study will draw upon relevant theory and history from cultural studies: social movement theory, sub-cultural theory, postcolonial theory, and queer theory. Key concepts and terms that will be explored are genealogy, discourse, power/norms, and globalisation. The objectives achieved will be based on an examination since the 1970s and how this has formed the sub-cultures and alternative social movements that reject or make alternative statements outside the popular culture of power and globalization through both politics and economic structures. Examining these cultures will then provide different depth and insight into the formation of social groups and stand points that are outside of the popular power structures. The determinations from this hypothesis will then provide insight into how demands and changes in political and economic formation, as well as through popular culture, are able to create different beliefs and movements to create different cultural groups that re-direct social standpoints. By analyzing and examining the counter movements in society and culture, there will be the ability to re-evaluate how power structures and discourses affect society. Specifically, there will be the ability to alter how society is affected outside of popular belief with globalization and new forms of power. The associations that are created will also help to show how social developments within a given culture are formed through acceptance and rejection of a culture. Understanding the counter – movements that are created through the arts and culture can then determine how different social groups are formed to oppose power. There will also be an understanding of how music, film and the visual arts help to achieve the expressions desired within society and how this affects those who are interested in different constructs. The design of this paper will then be able to show how culture, the arts and society are formed by examining power and determining its effectiveness on society. More important, the focus on the research toward current power constructs and globalization will help to determine how more than popular culture is forming what is occurring within a given society. Subcultural Arts and Music as Dissidents’ Voice: Exploring the Continuum from 1950s to 2000s Since culture, by its own definition, is the collective practice and beliefs of the majority of people in a society, traditional cultural art more likely conform to the beliefs and practices of the majority. The subculture has a long history in the western context. Dissenters against the existing dominant culture or like-minded people were grouped on the past to function in a body to reach some ends that are against the main body of the society. (Smith 116) Since people with opposing opinions were suppressed with the dominant political forces through muscle power, they could not emerge as any a trend in daily life activities unless the group was large enough to mitigate the threat of being subdued by the dominant. But the Enlightenment movement in Europe and the Industrial Revolution began to give birth to a new working class while allowing them with more scope to play increasing role in the political sector. (Benhabib 45-48) Thus the importance of the various groups was highly being valued by the democratic political systems in Europe and America in the late 19th century. Unless any dissenting groups are violent physically, the dominant society as well as the political power went on to accept them as different sects of people that, though need not be annihilated, can be tolerated within the ideology of freedom of expression. In fact, before the Second World War, since the main cultural bodies of the society were established and ordered, the subcultures and its people were more or less non-political and contained within themselves tied with some non-political threads of philosophy and opinions. After the war the subcultural groups began to emerge as more competing forces in the tumultuous and disordered social contexts. Though before the war the use of various forms of arts such as visual arts, paintings, music, etc began to positively affect the participation of the youth in subcultures they were increasingly being used in the postwar period and reached its climax in the 1970s through the development of the Punk culture. Since for people of subcultures the uses of various forms of arts to express their dissention against any social were more acceptable for the people of a civilized society, subcultural forms of arts were extensively used to reflect the punks’ view. Indeed the Punks mostly depend on music as their dissenting. (Smith 114) Yet the punks are found to practice visual arts, literature, as a tool of their dissenting ideologies. Demonstration and Protest in Punk Music Punk ideology is resonated with words like anti-authoritarianism, rebellion, discontent, free though etc. Punk style was initially an view of nonconformity, as well as resistance to conventional dominant culture and the hippie counterculture. Punk music developed from 1974 to 1976 with a heart on the United States, UK and Australia for assorted groups. The groups were known for creating the movement included Sex Pistols and The Clash. The punk music was consequential from rock bands and carried heavier in style and used fast beats as well as louder electronics as the most important form of expression. The songs were shorter than rock songs and had decreased the use of instrument. The chief heart of the songs was to build anti-political statements against institutions and establishments. During 1980s, this grew with styles and defined anti-authoritarian ideologies. The movement seems as popular culture, especially with bands such as Green Day and The OffSpring (Christgau 7). It is a matter to observe that the key notion was to approach anti-political actions looking at the initial appearance and idea of punk. Sex Pistols created hit songs such as Anarchy in the UK and guitarist Richard Hell was renowned for his song, Blank Generation. Each of these songs noted for anti-social, anti-political activities that expressed the insignificant scrutiny which were not patriotic in nature. The movement combined with musical forms which were based on autonomous release, new music and signs. This is only to oppose the popular culture that was based on underground scenes. “This Perfect Day” added a new dimension in recognition and stirred out of the anti-political movements. However, The Police, released by the Punk groups was continued with more traditional forms. The group has its several branches like the Anarcho-punk, the Oi!, the Hardcore, and the Pop punk. The form of the music was changed by the popular punk. (Keith 300) The Punks performed the functions of providing a language that could assist understand social conditions and new experiences within American and British societies. They indeed voiced the marginalized youth. New experience was based on reigning youths which viewed reality being hideous and terrible. In the mid of 1970s, postwar prosperity in London melted towards shrinking social services, unemployment increase and increased poverty. The economy was wrecked by fueled incendiary social situation such as police violence, xenophobia and racism. Following this scenario, English youth developed mounting feelings of isolation, frustration, hopelessness and anger. These youths turned to rock and roll, with punk rock heralded by many youth as a counterculture philosophy, a way of life and counterculture movement. ‘I Fought the Law’ gave the Clash in Europe an international spotlight, with an overall message to pay attention and wake up in political and social aspects. In 1982, combat rock highlighted leftist politics and social consciousness, with high criticisms from imperialists. Arguments on this release tackled issues on Gulf War and US military. Leftist political ideology completely changed charged his band, with Joe Strummer committing himself to leftist politics. The band was nicknamed “thinking mans yobs” because of pioneering radical politics advocacy in punk rock. This fame was achieved by simply sounding or teaching political slants rather than anarchism. Other early bands also protested to aristocracy and monarchy, but the voice of the clash was distinct. The clash was conspicuous and alone in rejecting nihilism but sought solidarity with contemporary liberation movements such as anti Nazi league. Their explicit politics were illustrated by lyrics such as the white riot which urged white youths to participate in politics actively like their black counterparts. By then, career opportunities considered routinised jobs, alienation of low paid and discontent over lack of alternatives. Additionally, London had burnt some parts of the city, making life in the inner-city boring and bleak. As Caroline Coon argued, militaristic and tough songs by the clash were what were required by the youth to move towards Thatcherism. Political sentiments were clearly expressed when they resisted to usual profit motivation within the music industry, allowing reasonable pricing of tickets to souvenirs and shows (Gilbert 89). Another very interesting hit was ‘the white riot’ which focused of social change reflecting everyday realm of political institutions, a voice against conservatism, aristocracy, materialism, the nature of modernity, war and violence. First, the hit focused on the life on the street through exploring the life of neighborhoods. Secondly, there were propositions of institutional politics in which the clash could not initiate any social change or else act as realm of culture and thus act as centre of praxis revolutionary. In songs like ‘straight to hell’ and ‘Charlie don’t surf’, these situationists emphasize that Vietnam War came as a result of dominant myths in the American society. In the same perspective, situationists criticized imperialism of the superpowers in the song entitled ‘Sandinista’. (Jung 45) Many people mistaken the clash to be revolutionary identity on roll and rock music that is based on unconventional activities such as gambling, drug abuse, sexual promiscuity and criminal activities in all ways of life. These musicians describe any outsider as arrogant individualistic who doesn’t care of rejecting authority of police, use of physical violence and naturally an exhibitionist. What could appear in this characters imagery was murder, drugs, guns, strange appearances, cars and outlawed bands. Focus on theses aspects is what made this band famous and attractive to audience, attaching emotional vigor and artistic depth to the songs of the clash (Robb 45). It won’t be a surprise in saying that the clash left a true and live legacy and influence in political sphere not only in Europe but around the globe. Its influence is also heard in American political punk, uttering inspirational and positive political movements supporting and highlighting the role of youth in personal and larger social setup. (Csordas 90-92) The clash sounded as revolutionary call to youth, as the band sounded and as it still sounds. After analyzing the call of the clash, people around the globe may suggest that the group was so focused and actually predicted the future. Even to date, we require individuals and such groups to come out strongly and defend the position of the youth in the social ladder (Robb 45). Analysis of Underground Film Underground ground film means the film of unpopular culture and principle. This is one of the specific forms of film which is hardly matched with the conventional film. The notion first came into view in 1957 with persons who were producing anti-Hollywood films. Independent film makers handled the term and began to extinguish films outside of Hollywood who were making the films. In the 1970s, this term began to rumble, especially with the individuals attracted in producing a counterculture. (Tyler 56-57) Actions such as the “Cinema of Transgression” and “No Wave Cinema” began to come into view, all which went in opposition to the conventional techniques and prospects of film. From this notion, the subversive cinema turned out to be a civilizing revolution where insignificant communal groups received part in Underground Film Art Festivals). The notion of sovereign film and subversive film is one that is now defined specially by going against the usual perceptions that are linked with big film making and testing with the film and the monetary thought is not a part of the mainstream. (Featherstone 91-93) Anti Electronic Culture Punk Art Anti War Punk Art Anti Religion Punk Art Anti Political/Anti Flag Punk Art Anti – Establishment Movements and Culture The individuality of enduring anti-establishment in the time of political relationships and globalization makes a precise report about individuality and civilization that carries on producing a nationwide and global inclination. (Harawira 75) The inclinations which are in the subversive society, opening with ‘Dada poetry’ and important to subversive film, demonstrates multi-institutions and establishments that are a shape of power play and which did not offer individuality to dissimilar persons and civilizations. (Featherstone 89-91) The values and ideologies associated with the movements that are stood on redefining the foundations of influence and humanity. The acquaintance-support is linked to the longing of having modern amend that prevents the procedure of “globalization and political powers”. The movements, which reproduced in cinema, text and music, illustrate an individuality that recounts exact ideologies which are actually adjacent to political authorities and organizations such as globalization (Armstrong & Bernstein, 74, 2008). The meticulous pressures of subversive civilization are not only significant to identify the created anti- organization values which share straight to the civilization that carries on producing inverse-term of politics and organizations as a foundation of individuality. Since 1970s, this meticulous faction has developed into an extensively established value. According to communal conjecture, the individuality which is connected to identity shows the subversive and anti-establishment. The music and film that represent the difference between admired beliefs and development and that is a challenge to those who are fascinated by music. (Drummond 37-40) Discussions To scrutinize the history and the influential act of punk rock, music and the underground film are to be noted carefully because of the consistent set of themes. Each of the cultures that create anti-cultural affiliations with anti-political movements and anti-establishment concepts are related to the punk rock and subversive film. The notion of the subversive film which stayed outside of politics, conventional culture and concerns, such as globalization, turned into the major concerns and experience of art. The approach of the Punks to use popular music and visual arts in initiating, sensitizing and bringing social alterations was considered as new instrument in political praxis. The global changes as well as changes in sociopolitical and economic context backed their ideologies in the late 1970s when the socioeconomic and political disorder exploded in world scene. As a result, New York Zulus, Victor Jara and Jamaica reggae made attempt of using music to initiate social change. The Punks believed and send message to the whole world that the time for using small journals in communication radical issues had gone away. Thirdly, the Punks played significant role in initiating general cultural forms that overturned cultural helmet in western societies. Punk’s cultural influence is evidenced by newspapers and magazines such as the National Review, Saturday Review, Rolling Tone, the Wall Street Journal, the New Republic, Penthouse and Reen Review. Interest on the clash has ever been concentrated on clash qua artists, mass media of communication political vision and audience which had the ability to interpret the information rightly. Lyrics and songs by punk highlight specific interconnection between socioeconomic and cultural forms processes through an approach of cultural anthropology. To fully analyze the effects of this music, this paper wishes to consider four songs; ‘I fought the law’, ‘the guns of Brixton’, ‘know your rights’ and ‘white riot’. (Keith 21). Conclusion Throughout this paper, I have followed the way of summarised cultural studies of globalisation principle and their suggestions where major cruelty is the addition and destruction of uniqueness and globalisation is overwhelmingly understood as wisdom of consistency of homogenisation. As an example, the primary description focuses between the followers of the postcolonial perception along with post-structuralism and critics. The impact that disturbing leading inside-outside relationships can be exposed as an attack on relations of hegemony which is the consequence of the apparently radical progress of reconciling the hostility of domination with the violence of separation. The phase of the people who were entirely satisfied with the conditions of their lives is hard to imagine. Though it is not unattainable but difficult to imagine the situation either it is cultural or natural where every group or person would provide its unprepared approval. The most archaic stories like “from legends and myths” or “the most ancient narratives of world civilisations”, are burdened with argument, confrontation, and revolt against “institutionalised” regulation. The chief objective of this paper, however, is not a silent, uncertain dissatisfaction with a definite society, strategy, or agreement of possessions. It is a replacement of the different and definite essential thoughts that expressed about culture which have shaped people’s mutual perceptions of their societies. These perceptions can be classified into specific categories. Each style or form of cultural analysis is situated on particular theories, proceeds relatively systematically from that basis, and signifies distinct opinions about the values, nature, and objectives of what is being analysed. 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