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Music and Social Movements: Mobilizing Traditions in the by Ron Eyerman

By Ron Eyerman

Tune and tune are primary to fashionable culture--social hobbies to cultural switch. construction on their reports of the sixties tradition and the idea of cognitive praxis, the authors learn the mobilization of cultural traditions and the formation of recent collective identities throughout the track of activism. particular chapters learn American people and nation tune, black track, track of the sixties, and the move of the yankee adventure to Europe. This hugely readable publication is one of the first to hyperlink social circulation and cultural thought.

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Additional info for Music and Social Movements: Mobilizing Traditions in the Twentieth Century

Sample text

We want to claim that it is the conscious articulation - the process of naming, defining, and making coherent - which distinguishes tradition from custom or habit, which are similar in that they all deal with recurrence. Custom, for us, refers to beliefs and practices which are less articulated than tradition, less durable and more short-lived, and thus more easily altered. Habits, on the other hand, refer to individualized forms of behavior and not to the ideas, beliefs, or practices of groups or entire societies.

The important thing - for musicologists, historians, and folklorists alike, as well as for many practi­ tioners and their audiences - seems to be to draw distinctions, to define 38 Taking traditions seriously boundaries, and to characterize the contours of one tradition in opposition to others. But where do traditions come from? And why are some traditions period­ ically reorganized into new formations or configurations? Even more importantly, why do some traditions play a stronger role in cultural trans­ formation than others?

They [the festi­ vals] could express or encourage local solidarity or internal struggle, celebration or opposition" (Kaplan 1992: 1). For the established political Where do traditions come from? 37 and religious institutions, these ritualized events were intended to reaffirm and legitimate their established power and authority. But such authorities could not control how the same events were interpreted and used by those who participated. In this case rituals that were intended to reaffirm author­ ity actually contributed to the reverse, as the participants, including the group of rebellious artists of which the young Picasso was a part, used the occasions to promote alternative visions and group solidarities.

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