The rise of the riot grrrl movement can be traced to musicians and zine creators Tobi Vail, Allison Wolfe, Molly Neuman, and Kathleen Hanna–founders of the bands Bratmobile and Bikini Kill, respectively. From its inception, riot grrrl was ideologically rooted in the concept of a girl-led collective and actively resisted the elevation of individual figureheads. Instead, its founders encouraged young women to create their own music, art, writing, and forms of protest. This DIY ethos empowered those who had never played an instrument or written creatively to pick up guitars or pens and express themselves. Women punk enthusiasts crafted fanzines that quickly evolved into interactive platforms for radical political dialogue and genre-defying creative expression by self-identified riot grrrls, fostering a vibrant culture of subversion and solidarity.
Through their music and textual productions, riot grrrls launched a pointed critique of capitalism and consumer culture while foregrounding feminist issues such as rape, assault, and the physical and psychological abuse of women. Riot grrrl zines frequently featured confessional autofiction, satirical graphic art, exchanges between creators and readers, and discussions of gender and emerging queer theory. This loosely connected, nomadic community, typically composed of individuals between the ages of 13 and 25, often experienced marginalization and alienation from the mainstream cultures in which they lived. Zines played a critical mediating role, facilitating consciousness-raising encounters between writers and readers that transcended regional and national boundaries. These exchanges fostered a sense of intimate solidarity–or, in riot grrrl terms, “girl love”–among participants. The movement’s emphasis on revealing lived, personal experience as a marker of authenticity echoes strands of second-wave feminism, particularly those that championed realistic and autobiographical writing as key tools for feminist consciousness-raising.
As Bikini Kill’s Kathleen Hanna explains,
“In writing [zines], I have had to think a lot about how to share information without acting all bossy or being condescending. … Just cuz I’m an addict/alcoholic (what-fuckin-evah) doesn’t mean I think I can speak for everyone in terms of addiction. It seems to me that each addict functions within his/her own context in terms of race, gender, location, class, personality, access, etc. . . . So it would be ridiculous for me to try and write a ‘manifesto’ or a ‘universal account’ of how addiction works.”
Here, Hanna anticipates and pre-empts external critique that she speaks from a privileged, universalist position as a white woman. Crucially, however, this acknowledgement follows her revelation of personal experience—and indeed, her claimed expertise—regarding addiction. The culture of privilege-checking cultivated in riot grrrl zines, while rooted in a desire for accountability and inclusivity, gives rise to what Mimi Thi Nguyen (2012) describes as a “troubling politics”. In this framework, traumatic experience—when reframed as the product of systemic oppression—serves to bolster claims of authentic marginality, effectively translating lived experience into a form of expertise. This dynamic complicates the relationship between personal narrative, political authority, and identity within the riot grrrl movement.
This according to “Killing ourselves is not subversive: Riot grrrl from zine to screen and the commodification of female transgression” by Emily Spiers (Women: A cultural review 26/1-2 [2015] 1–21; RILM Abstracts with Full Text, 2015-83472).
In the video below, zine publishers and artists describe riot grrrl (and zines in particular) as their entry point to different forms of activism and expression in the 1990s–the video was part of the Alien she exhibition at the Yerba Buena Center for the Arts in San Francisco.
The RILM Archive of Popular Music Magazines (RAPMM) is a continuously expanding digital collection that currently includes over 125 independently published popular music magazines and fanzines from the late 1960s to the present. This internationally scoped archive covers a diverse range of popular music genres, from punk and rock to indie, hip hop, and country, serving as a multilingual and interdisciplinary resource for music research. By preserving rare and historically significant publications, RAPMM safeguards essential elements of cultural heritage.
In line with RILM’s global mission the content of RAPMM spans multiple languages and countries–currently from Australia, Canada, China, Colombia, Germany, Spain, the United Kingdom, and the United States. The zines in RAPMM cover a wide range of popular music genres, including punk, rock, indie music, post-punk, grunge, hip hop, women’s music, world music, psychedelia, noise, alternative music, jazz, and country music. There are articles on the history of musical movements and their relation to politics, society and social movements, underground and subcultures, stylistic shifts, and feminism; interviews with widely recognized and unknown artists at different stages of their careers; band profiles; and album reviews and history of record labels.
Watch the RAPMM trailer above.
Accessible through RILM’s Egret platform, RAPMM offers advanced browsing, searching, and translation features across desktop, mobile, and tablet devices. Additionally, the platform provides a networked research experience, linking directly to other scholarly resources such as RILM Abstracts of Music Literature and external services like the Virtual International Authority File (VIAF). RAPMM underscores RILM’s broader mission as an NGO accredited to provide advisory service to UNESCO’s Committee of Intangible Cultural Heritage. Speaking on the project’s significance, RILM Executive Director, Dr. Tina Frühauf, states:
“In alignment with UNESCO’s initiatives to protect cultural diversity, RAPMM represents a vital node in an international effort to safeguard and preserve information about the sonic history of our times. It fosters community-centered archiving practices that foreground the lived experiences and material traces of popular music magazines. By bridging the analog and the digital, the local and the global, RAPMM not only preserves endangered media artifacts but also reimagines archives as dynamic spaces of cultural memory, equity, and engagement.”
The launch event, hosted by The Barry S. Brook Center for Music Research and Documentation and RILM, is cosponsored by the American Social History Project/Center for Media and Learning. In addition to unveiling RAPMM, the event will also celebrate the release of two groundbreaking publications: Inside the Studio Spaces of Electronic Music Production: Berlin/Cairo by Dr. Matthias Pasdzierny and Gero Cacciatore, and Gear: Cultures of Audio and Music Technologies by Dr. Eliot Bates and Dr. Samantha Bennett.
Held in the William P. Kelly Skylight Room on the 9th floor of the CUNY Graduate Center, the event will feature discussions with key contributors, moderated by Finn Cohen (The Sun). A reception will follow.
Admission is free. Please RSVP to cmrd@gc.cuny.edu. The event will be live-streamed by the CUNY Graduate Center–RSVP to receive the link.
Contact: Michael Lupo (he/him/his), Marketing & Media RILM International Center 365 Fifth Avenue, Suite 3108 • New York, NY 10016-4309 Michael Lupo • Phone 1 212 817 8601 • www.rilm.org
In contemporary Africa, new electronic music can generally be classified into two distinct categories. The first involves artists who adapt mainstream genres like house, techno, or electronica, giving them a local twist. These artists incorporate samples of traditional music into the structural framework of these genres, creating a fusion that resonates with specific social groups and aids in creating cultural identity. This approach often includes elements such as traditional or Afrofuturist stage costumes, further reinforcing the connection to local heritage. The second category stems from technical limitations. These artists, often working without access to live musicians, turn to digital tools to create traditional-sounding music that aligns with the structures of electronic genres. Their goal is not to target global club scenes, but rather to address the need for musical accompaniment in traditional performances. Many of these genres emerged at weddings, where they blended respect for cultural traditions with a desire for innovation, reflecting the celebration of the couple, their families, and the community.
In northern Uganda, the fusion of Acholi music with electronic elements has led to the emergence of a new genre called Acholitronix. The term is a blend of “Acholi” and “electronic,” and it has gained significant traction in global alternative electronic music circles, largely due to two influential albums released by the Kampala-based Nyege Nyege Tapes label: Otim Alpha’sGulu city anthems (2017) and the compilation album Electro Acholi’s kaboom (2019). Another key figure in the Acholitronix movement is Akena P’Layeng Okella, better known as Leo Palayeng (pictured above). Palayeng began playing the inanga harp at the age of six, shortly after his father was killed during the war between the Ugandan government and various armed factions in northern Uganda. His early experiences as a musician shed light on how musical traditions transform in societies affected by trauma and sociopolitical upheavals, both during the colonial era and more recently through the civil war.
As an Acholi musician, Palayeng’s life has mirrored the changing dynamics of his community, as he has been an active participant in its cultural evolution. In the late 1990s, Palayeng joined a theater group where he performed dance routines set to rumba and rap music. During this time, he began recording his first rap songs and became a radio announcer. He also explored music production using early sound software like Fruity Loops 3.45, eventually producing his first Acholi electronic tracks.
Since beginning his career as a producer in the early 2000s, Palayeng has embraced a musician-researcher approach to his work. He actively records and archives the musical traditions of various Acholi instruments, often incorporating them into his own compositions. To document and preserve Acholi musical heritage, Palayeng travels to the outskirts of Ugandan cities to capture the sounds of traditional music and instruments. This archival effort holds deep significance for Palayeng–not only does it instill a sense of pride in his own Luo cultural heritage, but it also serves as a wellspring of inspiration for his future work. His creative process typically begins with acoustic samples, which he then layers with an electronic aesthetic. This aesthetic is defined by the integration of MIDI instruments and additional samples alongside the traditional recordings. One of the defining features of Acholitronix is the use of call-and-response, a central element of Acholi music. Another notable aspect of this genre is the shift in tempo—where traditional rhythms are often sped up, with tracks rarely dipping below 160 beats per minute, marking the transition from acoustic to electronic with a noticeable acceleration.
Cover art for an album by Emiliano Motta and Leo Palayeng.
Cover art for Otim Alpha’s Gulu city anthems album (2017).
Reflecting on this creative adaptation, Palayeng explains, “I decided to blend traditional Acholi rhythms with electronic patterns. The process of creating the first larakaraka loops wasn’t easy—it took a lot of time. I started by recording traditional drums and calabash sounds to create samples for Fruity Loops add-ons, which I then installed onto my computer. I was able to capture the true essence of Acholi sounds with a focus on quality. One night, after a long session in the disco hall, the club closed, and I found myself deep in thought. I decided to create a simple project using a Fruity Loops sequence. I cranked the BPM up to 158, then dropped the calabash samples into the MIDI sequence, making them feel like they were being played live on stage. Boom! That was it. The loops for wedding celebrations and other electronic Acholi tribal patterns I used to play on the inanga came rushing back to me.”
This according to “Leo Palayeng: Bridging the gap from traditional to electronic Acholi music” by Rémy Jadinon (African music: Journal of the International Library of African Music 11/4 [2022] 90–106; RILM Abstracts with Full Text, 2022-22008).
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Following the fall of Sài Gòn (now Thành phố Hồ Chí Minh) on 30 April 1975, the experiences and contributions of South Vietnamese war veterans were largely erased from public memory. In recent years, efforts to address this erasure have included the rediscovery of pre-1975 Vietnamese music, particularly Nhạc vàng (“yellow music”), which refers to popular songs of South Vietnam, many of which were composed before 1975. Capturing the realities of war and the lives of Vietnamese soldiers (người lính), Nhạc vàng offers a valuable historical perspective, shedding light on the struggles and hardships faced by South Vietnamese soldiers. Deeply embedded in the Vietnamese diaspora, its enduring melodies provide a crucial link to their ongoing struggles and memories within today’s geopolitical landscape. Over time, Vietnamese music—ranging from contemporary popular songs to poignant war ballads—has evolved into a powerful tool for preserving the voices of those silenced by history. For many South Vietnamese veterans, music became an emotional refuge, helping them navigate fading nostalgia and the painful memories of the Vietnam War.
Pre-1975 Nhạc vàng album cover art. Courtesy of Saigoneer.com
For many U.S. soldiers, popular music played a crucial role in shaping their experiences of the war. A Kentucky rifleman who spent his tour trekking through the central highlands of Vietnam recalled Nancy Sinatra‘s These boots are made for walkin’ as a defining song. A tunnel rat, who used to blow smoke into Viet Cong tunnels, remembers Jimi Hendrix’s Purple haze. For an African American marine reeling from the assassination of Martin Luther King Jr., it was Aretha Franklin’s Chain of fools. And for countless others, songs like Country Joe and the Fish’s I feel like I’m fixin’ to die, Creedence Clearwater Revival’s Who’ll stop the rain, and The Animals’ We gotta get out of this place became anthems of their war experience. Popular music was central to the American experience in Vietnam, bridging the gap between troops and the home front, while providing a soundtrack to the emotional complexity of the war they were thrust into. Music was an often overlooked yet crucial part of the conflict, influencing the experiences and memories of every group of Vietnam veterans.
Music also played a crucial role in shaping public perception of the Vietnam War in the United States, as songs reflected both support and opposition to the conflict. Unlike the professionally produced music of World War II, Vietnam-era songs were embraced by the public and became central to cultural gatherings such as folk festivals, college dorm sing-alongs, and peace rallies. The war exposed deep societal divisions, with music serving as an emotional outlet for discontent, anger, and the desire for peace–contrasting sharply with the patriotic themes of previous conflicts. Both anti-war and pro-war movements used music to express their sentiments, with supporters of the war favoring country music while opponents turned to folk and rock to amplify their voices. The powerful emotions embedded in these songs made the Vietnam War distinct in its musical and cultural impact.
Furthermore, activist musicians like Phil Ochs (pictured above) provided a more nuanced and critical perspective on the war than what was typically found in mainstream media. His songs often addressed controversial aspects of the Vietnam War that were otherwise overlooked or suppressed. Ochs’ music was raw and uncompromising, standing out among his contemporaries. Despite being a key figure in the 1960s anti-war movement and a prolific writer of topical songs, Ochs remained less commercially recognized than other folk icons like Bob Dylan or Joan Baez. His most productive years coincided with the peak of U.S. involvement in Southeast Asia, a time when his popular music served as a powerful critique of the war.
This according to “Échos rescapés: Redocumenter la musique vietnamienne d’avant 1975–Pistes sonores historiques et mémorielles [Rescued echoes: Redocumenting Vietnamese music from before 1975–Historical and memorial soundtracks]” by Kathy Nguyen, Lieux de mémoire sonore: Des sons pour survivre, des sons pour tuer, ed. by Luis Velasco-Pufleau and Laëtitia Atlani-Duault (Paris: Maison des Sciences de l’Homme, 2021, 137–172; RILM Abstracts of Music Literature, 2021-107659), and We gotta get out of this place: The soundtrack of the Vietnam War by Doug Bradley (Amherst: University of Massachusetts Press, 2015; RILM Abstracts of Music Literature 2015-18652).
The 50th anniversary of the fall of Sài Gòn, marking the end of the Vietnam War, was celebrated on 30 April 2025.
The track below exemplifies the sound of pre-1975 Nhạc vàng.
Below is a link to Phil Ochs performing on Canadian television on 27 September 1965.
The library of the Institut du Monde Arabe (Arab World Institute) in Paris is home to an extensive collection of writings on music from the Arab world, a region stretching from the Atlas Mountains to the Indian Ocean. This series of blog posts highlights selections from this collection, along with abstracts written by RILM staff members contained inRILM Abstracts of Music Literature, the comprehensive bibliography of writings about music and music-related subjects. In 2026, the Institut du Monde Arabe will host an exhibition on wedding cultures in the Arab world, and the institute’s library will hold an on-site exhibition of its book collection covering this topic.
In the Arab world, weddings unfold through a series of ceremonies where daily preparations and references to the sacred intertwine to initiate and bless the union of two families. From the first promises of the engagement ceremony to the morning after the wedding night, each step is guided by social norms and enveloped in society’s ideals of generosity, community, and gender roles. Whether it takes place in a single day or over the traditional seven days, each step of the wedding is intentionally marked by specific melodies, rhythms, and sounds. Prior to the actual wedding ceremony, during the night of ḥinnaẗ,natural dye is applied to the bride’s hands and feet as women praise the her beauty and recount love’s woes in song. Then, joyous zaġārīd (trills) through the air to declare the news to all, near and far, as the cantillation of the Qur’an or other sacred prayers proclaims the couple’s union in front of God. As upbeat drums of the zaffaẗ announce and accompanythe procession of the newlyweds, a subtler percussion chimes from the ẖilẖāl, the bride’s anklet, gifted from the groom to the bride to honor her femininity. These sounds intertwine with the most refined cultural expressions–skillfully crafted jewelry, intricately embroidered adornments, fragrances, and the finest cuisine, all blended together in celebration.
Even as the rush of modern life permeates every aspect of society in the Arab world, weddings continue to preserve many of the age-old customs. The related ceremonies create a momentary pause in the relentless flow of life to mark new social bonds and a transformation from singularity to family. The writings and research related to this lifecycle event covered in the annotated bibliography below explore the enduring customs across various regions of the Arab world: from the Tuareg tribes of the Sahara Desert and the Nubian tribes of the Nile Valley to urban dwellers in Cairo and Mosul. They document lyrics, transcribe melodies, describe instruments, and detail the roles of men and women in musical performances–all in an ongoing effort to understand and preserve this rich heritage of wedding customs and music.
Annotated bibliography
ʿAlī, Muḥammad Šiḥātaẗ. أغاني النساء في صعيد مصر: الأعراس، البكائيات، التحنين [Women’s songs in Upper Egypt: Wedding, lament, and pilgrimage songs] (al-Qāhiraẗ: al-Hayʾaẗ al-Miṣriyyaẗ al-ʿĀmmaẗ li-l-Kitāb, 2015). [RILM Abstracts of Music Literature, 2015-92222; IMA catalogue reference].
Transcribing orally transmitted songs in Upper Egypt is crucial, especially as many of them are at risk of being forgotten due to the passing of older women who have memorized them. Song texts were collected as the result of ethnographic research in villages in the al-Badārī province of the Asyut governorate. The three main categories of the transcribed repertoire are songs related to rites of passage, such as weddings and their associated ceremonies, funeral and lament songs known as bukāʾiyyāt, and songs known as taḥnīn, performed in preparation for the pilgrimage. An appendix with photos capturing women’s activities in various aspects of life, including domestic chores, agricultural work, food preparation, and market activities is included.
ʿArnīṭaẗ, Yusrá Ǧawhariyyaẗ. الفنون الشعبية في فلسطين [Popular arts in Palestine] (Rāmallāh: Dār al-Šurūq li-l-Našr wa-al-Tawzīʿ, 2013). [RILM Abstracts of Music Literature, 2013-54151; IMA catalogue reference]
The tangible and intangible forms of folklore–encompassing popular musical expressions, embroidery customs, and ceremonial practices associated with marriage and celebrations–serve as testimony to the enduring heritage and cultural continuity of the Palestinian people. The present effort to document select aspects of Palestinian folklore servesseveral purposes: first, to safeguard these manifestations of popular culture and ensure their continuity; second, to forge a robust connection between the present and history; third, to uncover the creative dimensions inherent in Palestinian folklore; and ultimately, to inspire fellow researchers in music and the arts to undertake similar endeavors in documenting Palestinian folklore. Folk songs should be approached with the same urgency to study and preserve such as other Palestinian traditions. Popular songs’ characteristics are detailed, including the characteristics of colloquial dialects, the melodic content, maqam structure, ornaments, and more. Transcriptions of the melodies of 66 songs, along with their transcribed lyrics, are included and are chosen as hailing from different cities. The songs are grouped by topic or occasion, as follows: children’s songs and lullabies, songs of religious holidays and celebrations; love and wedding songs; songs of war and encouragement; work songs; drinking, satirical, and political songs; dance songs; funeral chants and laments; songs of stories and tales. Popular song is a reflection of the Palestinian peoples’ ways of life and social customs and is a spontaneous expression of collective feelings and aspirations.
al-ʿĀṣimī, Ğamīlaẗ. أغاني نساء مراكش: اللعابات، الطقيطقات، الهواري، التهضيرة [Women’s songs in Marrākuš: The laʿābāt, the ṭaqīṭaqāt, the hawārī, and the tahḍīraẗ] (Marrākuš: Muʾassassaẗ Āfāq li-l-Dirāsāt wa-al-Našr wa-al-Ittiṣāl, 2012). [RILM Abstracts of Music Literature, 2012-50441; IMA catalogue reference].
Women’s songs in Marrākuš are transmitted orally from one woman to another, they are unauthored and composed collectively. Based on fieldwork with professional women performers, song forms and texts are transcribed alongside documentation on the accompanying percussion instruments and the names of the women’s groups performing each piece. Twenty-four song texts from the laʿābāt, a women’s ensemble that performs during weddings and related ceremonies, are included. Additionally, 20 song texts of the ṭaqīṭaqāt, a song form that is also performed by the laʿābāt groups on festive occasions and features articulate lyrics and steady rhythms, are transcribed. Twenty-nine song texts from two types of the hawārī song form are included, and 11 song texts of the tahḍīraẗ form, performed by groups of women during weddings, promenades, or private gatherings, are presented. An appendix contains 12 transcriptions of short excerpts from songs and the notation for each percussion section of the two hawārī song forms.
al-Asyūṭī, Darwīš.أفراح الصعيد الشعبية: من طقوس ونصوص احتفاليات الزواج والحمل والولادة والختان [The weddings of Upper Egypt: Rituals, texts, and ceremonies of marriage, pregnancy, and circumcision] (al-Qāhiraẗ: al-Hayʾaẗ al-Miṣriyyaẗ al-ʿĀmmaẗ li-l-Kitāb, 2012). [RILM Abstracts of Music Literature, 2012-52032; IMA catalogue reference].
Describes the rituals and customs associated with engagement and marriage preparation in Asyut, Upper Egypt. It covers various traditions, including the dowry presentation, the shopping process for establishing a new bridal household, the ḥinnaẗ night for the bride, and the ritual shower for the groom, among other related ceremonies. It also includes transcriptions of song lyrics collected from narrators in Asyut, as well as others memorized by the author.
Bayrūk, ʿAzzaẗ. الغناء الحساني بين التنظيم والتلقائية [Hassanian singing between structure and spontaneity] (al-Rabāṭ: Markaz al-Dirāsāt al-Ṣaḥrāwiyyaẗ/Centre des Études Sahariennes, 2015). [RILM Abstracts of Music Literature, 2015-92229; IMA catalogue reference].
The singing of the Ḥassānī tribes can be categorized into two branches: structured singing, also known as the hūl, which has been shaped by the influences of Arab, African, and Berber traditions and developed during the Ḥassānī rule in the Western Sahara during the 15th and 16th centuries; and a second branch that is unstructured and spontaneous, encompassing prophetic praise, wedding songs, rain songs, work songs, and lullabies, among others. The analysis includes a selection of song texts and their social contexts.
al-Daywahǧī, Saʿīd. تقاليد الزواج في الموصل [Marriage traditions in Mosul] (al-Mawṣil: Muʾassasaẗ Dār al-Kutub, 1975). [RILM Abstracts of Music Literature, 1975-28979; IMA catalogue reference].
Explores the social customs associated with marriage in Mosul, from the etiquette of selecting a bride or groom to the week-long wedding celebrations and the social norms governing interactions between the families of the bride and groom. Transcriptions of the lyrics of 32 wedding songs are included. Thematically, these songs celebrate the bride and groom, describe their virtues and beauty, express the families’ emotions as they bid farewell to their daughters and sons, and highlight societal expectations of marriage, among other topics.
El Mallah, Issam. The role of women in Omani musical life/Die Rolle der Frau im Musikleben Omans (Tutzing: Hans Schneider, 1997). [RILM Abstracts of Music Literature, 1997-11646; IMA catalogue reference].
The role of women in the transmission and preservation of Omani traditional music is significant, as is their influence. Women take on roles as singers, drummers, dancers, instrumentalists, and leaders in organizing dance and singing groups. The participation of women in musical arts can be grouped into two categories: arts exclusively practiced by women and those practiced alongside men. The ones involving men and women include collective dance, collective drumming, and work songs. The art forms exclusively practiced by women include women’s drumming circles, women’s work songs, Bedouin dances, wedding songs and dances, traditional healing ceremonies, and arts involving young girls. A description of the setting and context of each art form is included.
Ibn Ḥarbān, Ǧāsim Muḥammad. الزواج في المجتمع البحريني عاداته، تقاليده، فنونه [Marriage in Bahraini society: Customs, traditions, and arts] (Bayrūt: al-Muʾassasaẗ al-ʿArabiyyaẗ li-l-Dirāsāt wa-al-Našr, 2000). [RILM Abstracts of Music Literature, 2000-84970; IMA catalogue reference].
Weddings in Bahrain involve a wealth of cultural expressions. The process of marriage includes various customs such as dowry arrangements and the elaborate preparation of both the groom and the bride. There are specific dress codes for men and women, along with jewelry, embellishments, and perfumes designated for each. The food prepared for weddings is also central to the ceremony. Women musician ensembles known as the ʿiddaẗ typically perform at these events. The song forms and accompanying dances, including the dizzaẗ and the zaffaẗ, are described, along with the rhythms and percussion instruments used. Related arts and customs are also discussed, such as the practice of naḍir–a ritual where individuals offer physical or symbolic gifts in hopes of fulfilling a wish or prayer; the ʿāšūrī which involves women performing drums and dance ceremonies; the ẖammārī, a women’s dance where participants are covered with a body cloth; and the naǧdī mawwāl, a song form sung by women, among other events. Transcriptions of some song texts and rhythms are included.
Mahfoufi, Mehenna. Chants de femmes en Kabylie: Fêtes et rites au village–Étude d’ethnomusicologie [Women’s songs in Minṭaqaẗ al-Qabāʾil: Celebrations and rites in the village–An ethnomusicological study]. (Paris: Ibis Press, 2005). [RILM Abstracts of Music Literature, 2005-16247; IMA catalogue reference].
A study of village song in Minṭaqaẗ al-Qabāʾil, focusing on the songs of women that accompany various festivals and the rhythm of daily life: birth, marriage, the expression of love, lullabies, bouncing (a game that consists of bouncing babies on one’s lap), death, and religious song. The songs are transcribed and translated, and their musical form is described and analyzed. The accompanying CD features wedding songs in tracks 7, 8, 9, 10, 11, 12, and 13.
Mécheri-Saada, Nadia. Musique touarègue de l’Ahaggar (sud algérien) [Tuareg music of the Ahaggar in southern Algeria] (Paris: Awal; Paris: L’Harmattan, 1994). [RILM Abstracts of Music Literature, 1995-9971; IMA catalogue reference].
The Ahaggar in southern Algeria is the homeland of Tuareg culture. Tuareg music is linked to the context of its performance, notably village festivals. Principal Tuareg instruments include the imzad (one-string fiddle), the tazamar (end-blown flute), and drums. Five musical genres are differentiated, including women’s marriage songs (āléwen) and the chanted poetry accompanied by drums, the tindé. The music’s texts, their themes, their social significance, and their poetics are analyzed.
Kamāl, Ṣafwat. “أفراح النوبة” [The weddings of the Nubia], al-Funūn al-šaʿbiyyaẗ 100 (yanāyir-dīsambir, 2015) 51–75. [RILM Abstracts of Music Literature, 2015-92886;IMA catalog reference].
In Nubia, marriage involves customs and rituals ranging from the engagement period to the ḥinnaẗ night in preparation for the wedding, the offering of a dowry, a feast on the wedding day, and the exchange of gifts, among others. The celebrations typically last for seven days. Transcriptions of selected songs that accompany these rituals were collected before the displacement of the Nubian peoples following the building of the Aswan Dam in the 1960s and thus highlight traditional Nubian social values and religious beliefs.
Puig, Nicolas. Farah: Musiciens de noces et scènes urbaines au Caire (Arles: Actes Sud, 2010). [RILM Abstracts of Music Literature, 2010-54197; IMA catalogue reference].
Faraḥ, which literally means joy or happiness, refers to the wedding ceremonies and street festivities in Egypt. Vibrant wedding nights, featuring musical ensembles, dancers, and many forms of socialization reflect social class and status. Musicians’ and singers’ negotiation of social norms and perceptions is approached as social performance. A proper understanding of marriage festivities in urban spaces is situated within the evolving attitudes towards public urban areas in Cairo, and in relation to other local festivities such as festivals and the celebration of saints’ mawlid. Since the mid-19th century, the modernizing reforms of public urban spaces have significantly influenced the venues for public music-making in Cairo, leading to changes in musical forms, the introduction of new instruments, and the adoption of new technologies. These changes have, in turn, affected the form and delivery of music during street weddings. A closer examination of the lives and work of four wedding musicians illustrates the numerous economic and social factors that shape their careers, their aspirations, and the challenges they encounter as wedding musicians in Cairo.
Written and compiled by Farah Zahra, Associate Editor, RILM
The RILM Archive of Popular Music Magazines (RAPMM) is a continuously expanding digital collection that currently includes over 125 independently published popular music magazines and fanzines from the late 1960s to the present. This internationally scoped archive covers a diverse range of popular music genres, from punk and rock to indie, hip hop, and country, serving as a multilingual and interdisciplinary resource for music research. By preserving rare and historically significant publications, RAPMM safeguards essential elements of cultural heritage.
In line with RILM’s global mission the content of RAPMM spans multiple languages and countries–currently from Australia, Canada, China, Colombia, Germany, Spain, the United Kingdom, and the United States. The zines in RAPMM cover a wide range of popular music genres, including punk, rock, indie music, post-punk, grunge, hip hop, women’s music, world music, psychedelia, noise, alternative music, jazz, and country music. There are articles on the history of musical movements and their relation to politics, society and social movements, underground and subcultures, stylistic shifts, and feminism; interviews with widely recognized and unknown artists at different stages of their careers; band profiles; and album reviews and history of record labels.
Accessible through RILM’s Egret platform, RAPMM offers advanced browsing, searching, and translation features across desktop, mobile, and tablet devices. Additionally, the platform provides a networked research experience, linking directly to other scholarly resources such as RILM Abstracts of Music Literature and external services like the Virtual International Authority File (VIAF). RAPMM underscores RILM’s broader mission as an NGO accredited to provide advisory service to UNESCO’s Committee of Intangible Cultural Heritage. Speaking on the project’s significance, RILM Executive Director, Dr. Tina Frühauf, states:
“In alignment with UNESCO’s initiatives to protect cultural diversity, RAPMM represents a vital node in an international effort to safeguard and preserve information about the sonic history of our times. It fosters community-centered archiving practices that foreground the lived experiences and material traces of popular music magazines. By bridging the analog and the digital, the local and the global, RAPMM not only preserves endangered media artifacts but also reimagines archives as dynamic spaces of cultural memory, equity, and engagement.”
The launch event, hosted by The Barry S. Brook Center for Music Research and Documentation and RILM, is cosponsored by the American Social History Project/Center for Media and Learning. In addition to unveiling RAPMM, the event will also celebrate the release of two groundbreaking publications: Inside the Studio Spaces of Electronic Music Production: Berlin/Cairo by Dr. Matthias Pasdzierny and Gero Cacciatore, and Gear: Cultures of Audio and Music Technologies by Dr. Eliot Bates and Dr. Samantha Bennett.
Held in the William P. Kelly Skylight Room on the 9th floor of the CUNY Graduate Center, the event will feature discussions with key contributors, moderated by Finn Cohen (The Sun). A reception will follow.
Admission is free. Please RSVP to cmrd@gc.cuny.edu. The event will be live-streamed by the CUNY Graduate Center.
Contact: Michael Lupo (he/him/his), Marketing & Media RILM International Center 365 Fifth Avenue, Suite 3108 • New York, NY 10016-4309 Michael Lupo • Phone 1 212 817 8601 • www.rilm.org
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In the mid-1990s, Indonesia’s authoritarian regime viewed extreme metal as a direct challenge to its enforced ideals of harmony and social stability. Live metal concerts were banned, and the government under President Suharto actively reinforced stereotypes of metalheads as communist-affiliated “folk devils”, a narrative perpetuated via mass media, government institutions, and religious leaders. This systematic marginalization pushed extreme metal to the fringes of the national music scene, forcing musicians and fans to rely on local communities in Yogyakarta, Jakarta, Bandung, and Bali—not only as spaces for musical expression but also as nodes for sustaining social networks. In response, extreme metal subcultures adapted their resistance strategies, embracing verbal and sonic transgressiveness, organizing independent do-it-yourself (DIY) gigs and independent recording and distribution, and maintaining strong intercity connections that kept the musical movement alive.
The crowd at the Jogjarockarta festival 2023. Photo by Umar R./MetalTalk
Since the fall of Suharto’s authoritarian regime in 1998 and the subsequent period of Reformasi (Reformation), the Indonesian government’s relationship with extreme metal subcultures has shifted. No longer vilified as a threat to social order, extreme metal is now viewed as a marketable commodity aligned with the country’s creative economic agenda. This shift is evident in the rapid expansion of regional metal music festivals that regularly draw thousands of fans, often sponsored by cigarette companies, mainstream clothing brands, and beverage corporations. Additionally, some Indonesian metal bands have secured grants from state-funded projects, enabling them to perform at international festivals and further integrate into the global metal scene.
Indonesia’s former president Joko Widodo sporting a Napalm Death t-shirt.
Widodo with his security detail at an Indonesian metal concert in 2014.
Indonesia has emerged as a significant hub for large-scale heavy metal festivals, most notably Hammersonic–recognized as Southeast Asia’s largest annual heavy metal music festival–which most recently took place in Jakarta in May 2024 and is slated to return in 2025. This growing acceptance of the genre reflects a broader cultural shift, one that reaches even the highest levels of government. Former President Joko Widodo—widely known as Jokowi—has openly expressed his enthusiasm for heavy metal, signaling a rare alignment between subcultural music scenes and political leadership. As Pri Ario Damar, Dean of Performing Arts at Institut Kesenian Jakarta (Jakarta Institute of the Arts), explains, “Indonesia is a moderate Muslim country, which is why we’re more open to foreign influences, including heavy metal music, compared to some more conservative nations.”
Whether this openness will persist remains uncertain, particularly given Indonesia’s political trajectory. Elected in 2014 on a wave of reformist optimism, Jokowi eventually came to embody the dynastic and anti-reform politics reminiscent of earlier regimes. His successor, Prabowo Subianto, is a former military general who served under Suharto.
This according to “From our own voices: The meaning making of subculture among extreme metal musicians in Indonesia” by Oki Rahadianto Sutopo and Agustinus Aryo Lukisworo (Metal music studies 9/3 [2023] 359–367; RILM Abstracts of Music Literature, 2023-20530).
The photo at the beginning of this piece is of the hijab-wearing, female metal trio Voice of Baceprot, the first Indonesian band to perform at the 2024 Glastonbury Festival in the U.K.
Below, a vlog of an Indonesian metalhead’s journey to Hammersonic 2024.
At the age of six, blues musician Freddie King (known as the “Texas Cannonball”) received his first guitar and began taking lessons from his mother, Ella Mae King, and his uncle Leon King. Soon after, he earned enough money to buy a Roger guitar from a local music store by picking cotton. After his parents divorced, the family moved to Chicago, where a sixteen-year-old King sneaked into a blues club one night and sat in with the house band, which included the legendary Howlin’ Wolf. While working in a steel mill, King played in the evenings with Earlee Payton‘s Blues Cats, the Little Sonny Cooper Band, and with guitarist Jimmy Lee Robinson and drummer Frank (Sonny) Scott in the trio Every Hour Blues Boys. In 1953, he also participated in studio sessions for Parrot Records, among others, though none of the recordings were ever released. Despite being rejected by Chess Records due to his vocal resemblance to B.B. King, Freddie King released his first record, Country boy, in 1956 on the independent El-Bee label. The single, which featured a duet with Margaret Whitfield and Robert “Junior” Lockwood on guitar, garnered little attention.
By 1960, Freddie King had signed with King-Federal-DeLuxe, a label that also represented blues and soul artists like James Brown. Alongside pianist Sonny Thompson, King produced recordings such as Have you ever loved a woman and Hide away (1960), the latter becoming an instrumental crossover hit between blues and pop. Producer and record company owner Syd Nathan expertly capitalized on this crossover success, helping King achieve lasting commercial success. From 1961 to 1963, King sold more records than any other blues artist, including B.B. King, toured extensively in concert halls and nightclubs, and performed at numerous jazz and blues festivals. In 1963, King moved to Dallas to reunite with his wife and six children, who had returned to Texas the previous year due to the challenges of the music business.
Watch Freddie King’s 1973 concert in Paris.
King signed with Cotillion Records in 1968, where he recorded two albums: Freddie King is a blues master in 1969 and My feeling for the blues in 1970. During this period, he also embarked on extensive concert tours through England, where he was backed by members of the English blues group Steamhammer. King’s music had a significant impact on the blues rock scene of the time, influencing rock guitarists such as Eric Clapton, Jeff Beck, Peter Green, and Mick Taylor, who incorporated his style into their own bands.
This according to a new entry on Freddie King by Volkmar Kramarz in MGG Online.
Image credit for the first photo: Michael Putland/Getty Images
The library of the Institut du Monde Arabe (Arab World Institute) in Paris is home to an extensive collection of writings on music from the Arab world, a region stretching from the Atlas Mountains to the Indian Ocean. This series of blog posts highlights selections from this collection, along with abstracts written by RILM staff members contained inRILM Abstracts of Music Literature, the comprehensive bibliography of writings about music and music-related subjects.
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New, alternative, or underground music in the Arab world is not quite underground. It might be hidden, but in plain sight. Local in expression, it is global in its reach. Its new sounds defy and redefine the old. It protests it. It embraces it. It carries the youth’s inclination to break from norms as well as their yearning to belong. Classifying music as “new” in the Arab world can be fraught with assumptions indeed. From creating DJ samples that draw young clubgoers in Tunisia and protest hip hop in Ramallah to the remixing of ṭarab music in electronic music scenes, young Arab musicians are not short of imagination. These repertoires–the music of a young generation–reveal a whole new world.
In Tunisia, the words of rapper Hamada ben Amor became an anthem for the revolution, while in Libya, rapper Ibn Thabit gained prominence in 2009 for his critiques of the Gaddafi regime. In Egypt, the band Cairokee merged the Egyptian old with reggae beats and rock drums. In Lebanon, Mashrou’ Leila’s lyrics defied societal norms of gender and sexuality. In Morocco, Arabic and Berber became rap’s first tongue, and the local gnawa and chaabi came to incorporate elements of reggae and rock. Across the region, young women musicians have taken center stage, defying stereotypes and asserting the slogan ṣawt al-mar’aẗ ṯawraẗ صوت المرأة ثورة (a woman’s voice is a revolution). Outside of the Arab world, alternative, underground, and new music scenes have emerged among immigrant communities, notably in Europe and North America. Local and diasporic musical scenes connect on streaming platforms and Instagram pages, through YouTube clicks, “like” buttons, and TikTok “repost”.
Mashrou’ Leila from Lebanon.
New or alternative music styles proliferated across the region in the aftermath of the 2011 Arab Spring, which provided an outlet for youth to express their frustrations with prevailing sociopolitical realities and articulate their aspirations for the future. As a revolutionary ethos dominated public discourse, activists created alternative public spaces for dissent, where they expressed their views on political and social issues and created art and music. These new musical forms became the soundtrack of popular movements, largely sustained by youth ages 15–29, a demographic constituting approximately 30 percent of the population of the Arab world in 2019.[1]
A performance by the Lebanese alternative rock band, Who Killed Bruce Lee, at the Institut du Monde Arabe in 2017.
Academic studies of emerging styles and scenes have remained limited as scholarly engagement is marked by long research periods and publication processes. However, other genres of writing have successfully captured and commented on these musical phenomena in real time. The annotated bibliography of journalistic, artistic, and academic writing below presents select titles that document, and in some cases analyze, the rise of the stylistic innovation that characterize the music of a new, young Arab generation.
Written and compiled by Farah Zahra, Associate Editor, RILM
[1] Arab Barometer, “Youth in Middle East and North Africa”, https://www.arabbarometer.org/wp-content/uploads/ABV_Youth_Report_Public-Opinion_Middle-East-North-Africa_2019-1.pdf
Annotated bibliography
Brehony, Louis. Palestinian music in exile: Voices of resistance (Cairo: American University in Cairo Press, 2023). [RILM Abstracts of Music Literature, 2023-22405; IMA catalogue reference].
A historical and contemporary study of Palestinian music in exile in the Middle East, spanning half a century in disparate and undocumented locations. Based on seven years of research in Europe and the Middle East, stories show creatively divergent and revolutionary performances and compositions springing from conditions of colonialism and repression, and contributing to a transnational aesthetics of resistance. Interviews were conducted with musicians in Kuwait, Syria, Jordan, Lebanon, Egypt, Gaza and the West Bank, and Turkey, including musician Rīm Kīlānī, singer and composer Tāmir Abū Ġazālaẗ, singer Rawān ʿUkāšaẗ, composers and ʿūd players Saʿīd Silbāq and Aḥmad al-H̱aṭīb, percussionist Fāris ʿAnbar, and guitarists Aḥmad Ḥaddād and Tāriq Ṣalḥiyyaẗ, among others.
Burkhalter, Thomas, Kay Dickinson, and Benjamin J. Harbert (eds.). The Arab avant-garde: Music, politics, modernity (Middletown: Wesleyan University Press, 2013). [RILM Abstracts of Music Literature, 2013-8734; IMA catalogue reference]
From jazz trumpeters drawing on the noises of warfare in Beirut to female heavy metal performers in Alexandria, Arab culture offers a wealth of exciting, challenging, and diverse musics. The plethora of compositional and improvisational techniques, performance styles, political motivations, professional trainings, and intercontinental collaborations that claim the mantle of innovation within Arab and Arab diaspora music are examined. Engaging the “avant-garde”–a term with Eurocentric resonances–disturbs that presumed exclusivity, drawing on and challenging a growing body of literature about alternative modernities. (publisher blurb)
Clémente-Ruiz, Aurélie. Hip hop: Du Bronx aux rues Arabes [Hip hop: From the Bronx to Arab streets] (Paris: Institut du Monde Arabe; Gent: Snoeck, 2015). [RILM Abstracts of Music Literature, 2015-89747; IMA catalogue reference].
Issued as part of the exhibition Hip Hop, du Bronx aux Rues Arabes organized by the Institut du Monde Arabe in 2015. Hip hop is approached not simply as a genre but as an aesthetic, a lifestyle in perpetual evolution and a continuous transformation. Articles by multiple authors covering various topics and aspects of hip hop history and its adaptation by contemporary Arab artists are included.
Caubet, Dominique and Amine Hamma. Jil Lklam: Poètes urbains [Jil Lklam: Urban poets] (Mohammedia: Senso Unico Éditions; Casablanca: Éditions du Sirocco, 2016). [RILM Abstracts of Music Literature, 2016-56443; IMA catalogue reference].
The Moroccan music scene that emerged in the mid-1990s has become a crucial part of the overall cultural scene of the country. Rappers, slammers, reggae musicians, creators of metal music and nonmusic genres such as graffiti and break dance have all initiated an urban movement that mixes genres and contributes to a multicultural Morocco. The evolution of discourse emerging from the underground scene to the public sphere is explored, with attention to the lyrics of songs expressing a young generation’s interest in taboo subjects, cool music, and tough texts. Eloquent, humorous, sensitive, angry, and poetic, this creative and rebellious generation expresses, in multilingual tongues—vernacular Amazigh mixed with French, English, and Spanish–its love for its homeland along with its desire for dignity, freedom, and a better future. This generation adapted the U.S. counterculture’s ethos of do-it-yourself and solidarity while using new technology and social media to share its music. Interviews with experts on the new music scene, a selection of song texts shared in their original language and translated to French, and rich iconography are included. (publisher blurb)
Daoudi, Bouziane and Hadj Miliani. Beurs’ mélodies: Cent ans de chansons immigrées du blues berbère au rap beur [Beur melodies: One hundred years of immigrant song from Berber blues to Beur rap] (Paris: Séguier, 2002). [RILM Abstracts of Music Literature, 2002-17097; IMA catalogue reference].
More than any other form of expression, North African immigrant song recounts the often painful chronology, frustrations, hopes, and imaginings of thousands of men and women who came to France beginning in 1890. North African artists are unique in the French musical landscape, expressing themselves through multiple musical vectors such as chanson, rock, rap, reggae, and raï. (translated from the publisher blurb)
Deval, Frédéric. “Les échelles du Levant” [The scales of the Levant] Qantara 54 (hiver 2004-05) 21–23. [RILM Abstracts of Music Literature, 2004-47631; IMA catalog reference].
An interview with the Lebanese composer and pianist Zad Moultaka about his composition techniques integrating elements of Western art music and the Arab maqām. The piece Zarani for piano, ʿūd, and darbūkaẗ is analyzed.
Domat, Chloé. “L’effervescence de la scène ‘indé’ libanaise” [The effervescence of the Lebanese indie scene] Qantara 91 (printemps 2014) 22-23. [RILM Abstracts of Music Literature, 2014–96209; IMA catalog reference].
The Lebanese indie music scene has seen the flourishing of groups drawing on multiple musical sources. Born spontaneously in an eclectic musical landscape, the scene’s musicians have appropriated underground spaces which they maintain through new technologies and away from the commercial music industry. (translated from the article’s introduction)
El-Sakka, Abaher. “Mohammed Assaf: Portre-parole d’une jeunesse mondialisée” [Muḥammad ʿAssāf: A spokesperson for a globalized youth], Le monde arabe existe-t-il (encore)?, ed. by Chirine El Messiri. Araborama 1 (Paris: Institut du Monde Arabe; Seuil, 2020) 52–55. [RILM Abstracts of Music Literature, 2020-76899; IMA catalogue reference].
In 2013, the young Palestinian singer Muḥammad ʿAssāf from Gaza rose to fame as the winner of the second season of Arab idol, a singing talent TV program produced by MBC TV. His background as a refugee from a Palestinian camp resonated with audiences, evoking a sense of empathy and solidarity. Since his victory, ʿAssāf has toured internationally and served as a goodwill ambassador for UNESCO and UNRWA. Through his tours and performances, he used media, youth culture, and his artistic talent, to reach audiences beyond national boundaries.
Palestinian singer Muḥammad ʿAssāf performs on Arab Idol.
El Zein, Rayya. “Resisting ‘resistance’: On political feeling in Arabic rap concerts”, Arab subcultures: Transformations in theory and practice, ed. by Layal Ftouni and Tarik Sabry. Library of modern Middle East studies (London; New York: I.B. Tauris, 2016) 83–112. [RILM Abstracts of Music Literature, 2016-56445; IMA catalogue reference].
Explores the ways in which young Arab rap artists navigate the contradictions in the urban and public spheres in everyday life. The discourse of resistance permeating scholarship on rap and hip hop in the Arab world is critiqued and perceived as an expression of neoliberal power. Within the context of the rap scenes in Beirut and Ramallah, political feeling is expressed through objection, confrontation, repetition—a set of processes that hinges on collective action and solidarity rather than individual agency. Interactions, as such, should not be labeled as political but should be approached as subversive in their own terms. Conclusions are based on ethnographic studies conducted in Beirut and Ramallah, where interviews and conversations were conducted and exchanges between artists and audiences were observed.
Houssais, Coline. “La Tunisie entre rap et rage” [Tunisia between rap and rage] Qantara 99 (printemps 2016) 22–23. [RILM Abstracts of Music Literature, 2016-60281; IMA catalog reference].
The Tunisian rap scene has become the forum for a youth generation deprived of their revolution. Neglected by political power, young Tunisians turn to rap to express their frustrations and aspirations. The documentary Tunisia clash (2015) directed by Hind Meddeb covers the rap scene during and in the aftermath of the 2011 Tunisian Revolution. (translated from the article’s introduction)
Isherwood, Gustav. “The hip-hop resistance: Forging unity in the Arab diaspora”, Review of Middle East studies 48:1-2 (2014) 24–33. [RILM Abstracts of Music Literature, 2014-86897; IMA catalogue reference].
Examines the role of hip hop in motivating, supporting, and unifying political resistance movements and revolutionary activity in various Arab countries.
Mezouane, Rabah. “Alger qui rappe, Oran qui raï” [Algiers raps and Oran plays raï] Qantara 26 (été 1999) 22–23. [RILM Abstracts of Music Literature, 1999-66771; IMA catalog reference].
Describes the rap music scene in Algiers and the raï music scene in Oran. In each city, young singers and musicians are shaping the sounds of Algerian popular music and reaffirming their cultural identity.
Pillault, Théophile. “Les mondes de Deena Abdelwahed” [The worlds of Deena Abdelwahed] Qantara 104 (été 2017) 19–20. [RILM Abstracts of Music Literature, 2017-93296; IMA catalog reference].
With her recent release on the prestigious electronic music label InFiné, Tunisian DJ Deena Abdelwahed introduced her compositions to the heart of the new Mediterranean electronic scene. (translated from the article’s introduction)
Deena Abdelwahed’s 2019 Tawab (Remixes) album cover.
Pillault, Théophile. “Au coeur de la nouvelle scène tunisienne” [At the heart of the new Tunisian scene] Qantara 96 (été 2015) 22–23. [RILM Abstracts of Music Literature, 2015-92520; IMA catalog reference].
All the way through a revolution, three years of institutional crisis, a new constitution, political tensions, and the horror of the Bardo National Museum attack, Tunisia was fighting for a space of freedom. At the same time, Tunisian youth went out and experienced new music on dance floors. A short interview with DJ Haze-M is included. (translated from the article’s introduction)
Poché, Christian. “L’Occident, nouveau creuset de la musique arabe” [The West: The new melting-pot of Arab music] Qantara 66 (hiver 2007–08) 22–23. [RILM Abstracts of Music Literature, 2008-53699; IMA catalog reference].
Arab music displays some original and unexpected aspects in the West. Whether addressing an Arab diaspora or a European audience, Arab musicians explore influences, present confrontations between genres, perform with musicians of different origins, all while revisiting their own musical traditions. (translated from the article’s introduction)
Salah, Alaa and Martin Roux. Le chant de la révolte: Le soulèvement soudanais raconté par son icône [The song of the revolution: The Sudanese uprising as told by its icon] (Lausanne: Favre, 2021). [RILM Abstracts of Music Literature, 2021-108638; IMA catalogue reference].
In April 2019, the Sudanese revolution entered a decisive phase. At the end of four months of repressed demonstrations, protesters reached the outskirts of the army headquarters: they demanded the resignation of General Omar al-Bashir, the dictator in place in Khartoum for 30 years. His reign was marked by wars in South Sudan and Darfur and the oppression of women and all dissident voices. The youth of the country, where more than half of the population was under 25, dreamed of freedom. Suddenly, an image imposed this revolution on television news and the front page of international daily newspapers. Ālā’ Ṣalāḥ appeared a few days before the leader’s fall. Draped in white, an angry index finger pointing towards the sky, the young woman overlooked a crowd of thousands of demonstrators. As she chanted her revolutionary poetry, her gesture propelled her to the rank of a revolutionary icon and gave the Sudanese uprising a title: the revolution of women. Ultimately, Ālā’ became a leading figure in a revolution of a generation that finally tasted hope and a country engaged on a fragile path towards democracy. (translated from the publisher blurb)
Shalaby, Nadia A. “A multimodal analysis of selected Cairokee songs of the Egyptian revolution and their representation of women”, Women, culture, and the January 2011 Egyptian Revolution, ed. by Dalia Said Mostafa (London: Routledge, 2017) 59–81. [RILM Abstracts of Music Literature, 2017-90149; IMA catalogue reference].
Analyzes the music videos Ṣawt al-ḥurriyyaẗ (Voice of freedom), Yā al-mīdān (Oh, Tahrir Square), and Iṯbat makānak (Stand your ground) by the Egyptian band Cairokee. The three music videos were released during the year following the breakout of the Egyptian revolution on 25 January 2011, and each reflects the popular mood accompanying the phases of the revolution. The creation and reception of meaning through these music videos is a product of lyrics, music, and other semiotic resources such as visual cues, photographs, camera angles, framing, range of shots, and gaze. The visual design of each music video is discussed to show how multimodal discourse is formed through the employment of various visual, verbal, and musical modes. Finally, the presence and the agency of women in the three music videos are analyzed following the same analytical model.
Stocker, Valérie and Guillaume Thomassin. “Libye underground” [Underground music in Libya] Qantara 82 (hiver 2011-12) 22–23. [RILM Abstracts of Music Literature, 2011-54272; IMA catalog reference].
The underground music scene in Tripoli reflects societal shifts beyond mainstream visibility and in response to state-sponsored musical genres and censorship. Since 2011, the increasing availability of the Internet has provided young Libyans access to global musical genres, which they have adapted to articulate the unique concerns and identities of their generation. French reggae, rap, and pop-rock have been adapted and used as vehicles for social commentary and resistance.
Zegnani, Sami. “Le public du rap: Un révélateur des transformations de la société” [The rap audience: An indicator of social change], Tunisie, l’après 2011: Enquête sur les transformations de la société tunisienne [Tunisia, post-2011: Survey about the transformations of Tunisian society], ed. by France Guérin-Pace and Hassène Kassar (Aubervilliers: Institut national d’études démographiques, 2022) 197–211. [RILM Abstracts of Music Literature, 2022-28461; IMA catalogue reference].
Investigates the socio-demographics of Tunisian rap fans, considering age, gender, education level, profession, economic level, place of residence (urban and rural), political and religious affiliations, and extent of access to the Internet.
In 1989, the Malaysian band Search became a cultural phenomenon across the maritime Southeast Asia region (locally known as nusantara, or archipelago), successfully exporting their unique style of Malaysian hard rock and heavy metal, which came to be known retrospectively in the Malay language as rock kapak(literally “axe rock”). Their success paved the way for cross-border collaborations in Indonesia and elsewhere, including recordings, tours, and a feature-length film. Following the release of their 1985 debut album Cinta buatan Malaysia (Love made in Malaysia), Search emerged as leaders in the emerging Malay hard rock scene. As heavy metal and rock music gained popularity among youth across the country, Malaysian authorities attempted to limit its spread by imposing a ban on long-haired rockers in 1992. The government justified this measure by associating rock and metal with antisocial behavior, drug use, and other undesirable activities. Search found themselves at the heart of this controversy, as the ban restricted the broadcast of their music on national radio and television. Instead of altering their appearance, Search chose to defy the ban, leading to concert permit denials by government officials.
The Cinta buatan Malaysia cassette tape.
This episode underscores the connections and tensions stirred by Malay rock, which acted as both a crossing of nation-state borders and a challenge to religious and moral boundaries. The former can be understood in the context of inter-regional popular music exchanges within the nusantara region, while the latter reflects Malay rock’s resistance to authoritarian moral policing. The boundary crossings enacted by Search illustrate how the mobility of Malay rock, seen as an informal cross-nusantara movement predominantly led by male, working-class youth, opposed the conservative policies of ethnonational states. While Search’s movement across the region represented a porous crossing of domestic and regional borders, it was the emotionally resonant aspects of their popular ballads that attracted a wide audience across maritime Southeast Asia and even influenced politicians who sought to control their public image.
Search in 2022.
Despite the challenges posed by the long hair ban, Search persevered, consistently releasing albums and singles throughout the 1990s and 2000s, even as rock’s popularity declined in favor of pop, hip hop, and R&B across Asia. Their most recent album, Katharsis, was released in 2017.
This according to “Crossing borders and crossing the line: Nusantara mobilities of Search and the Malay rock phenomenon (1980s and 1990s)” by Adil Johan (Indonesia and the Malay world 51/151[2023] 257–278; RILM Abstracts of Music Literature, 2023-16963).
Below are links to two classic Search music videos:
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