{"id":1258,"date":"2015-10-30T12:08:00","date_gmt":"2015-10-30T19:08:00","guid":{"rendered":"https:\/\/dornsife.usc.edu\/cagr-temp\/?p=1258"},"modified":"2023-08-17T14:00:14","modified_gmt":"2023-08-17T21:00:14","slug":"singing-in-the-lions-mouth-music-as-resistance-to-genocide-a-reflection","status":"publish","type":"post","link":"https:\/\/dornsife.usc.edu\/cagr\/2015\/10\/30\/singing-in-the-lions-mouth-music-as-resistance-to-genocide-a-reflection\/","title":{"rendered":"Singing in the Lion’s Mouth: Music as Resistance to Genocide (A Reflection)"},"content":{"rendered":"\n\n \n \n\n\n\n\n\n\n\n
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Singing in the Lion’s Mouth: Music as Resistance to Genocide (A Reflection)<\/h2>\n
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During the weekend of October 10-11, the University of Southern California gathered international academics, musicians and members of the Los Angeles community for a symposium and series of events, collectively called\u00a0Singing in the Lion\u2019s Mouth: Music as Resistance to Genocide<\/em>.\u00a0 Hosted by Professor Wolf Gruner of the USC Shoah Foundation Center for Advanced Genocide Research, and Professor Nick Strimple of the USC Thornton School of Music, the symposium, film screening and concert were also \u00a0sponsored by USC\u2019s\u00a0Vision and Voices<\/em>\u00a0arts and humanities initiative. The following paragraphs are a reflection on the individual events that made up the weekend, and an exploration into the larger ideas raised in discussions over the course of the weekend.<\/p>\n

 <\/p>\n

It was clear at the outset that the conference would not be bound by a single idea, style of music, or academic field of study.\u00a0 During a preliminary lunch, casual conversation among the participants quickly turned to ideas of trauma and intergenerational memory; filmmaker Carla Garapedian broad background in Armenia, Rwanda and Darfur helped bridge discussions of regional examples and led the assembled scholars into a weekend of cross-cultural considerations.\u00a0 Participants were formally welcomed by professors Strimple and Gruner, who framed the symposium in academic theory, and the scholars walked onto a USC campus ready for a weekend of thoughtful interactions.<\/p>\n

 <\/p>\n

The conference opened with two film screenings at the Ray Stark Family Theatre, within USC\u2019s School of Cinematic Arts.\u00a0 Carla Garapedian was on hand to screen and discuss\u00a0Screamers<\/em>, her 2006 documentary about the impending 100th<\/sup>\u00a0anniversary of the Armenian genocide.\u00a0 The film uses archival footage and interviews with members of the rock group \u201cSystem of a Down,\u201d \u00a0as well as others in the Armenian community, to push the U.S. government into recognizing the 1915 Armenian Genocide.\u00a0 The symposium continued with Kerry Candaele, director of the 2013 film\u00a0Following the Ninth: In the Footsteps of Beethoven\u2019s Final Symphony<\/em>.\u00a0 Candaele\u2019s film explores the cross-cultural uses of Beethoven\u2019s iconic symphony, \u00a0especially the role of the \u201cOde to Joy\u201d score in moments of musical resistance around the world.<\/p>\n

 <\/p>\n

Screamers<\/em>\u00a0is a blunt and powerful film, with gruesome archival footage and unfiltered language from the band \u201cSystem of a Down.\u201d\u00a0 After the screening, Garapedian said that her ongoing engagement with the genre of documentary filmmaking mandated that she leave in the shocking aspects of the film, even if it deemed an \u201cR\u201d rating.\u00a0 Responding to a student question about language in the film, she said that the 33 \u201cF-bombs\u201d and resulting adult rating kept the work from being easily accessible to students, and that a \u201cbleeped out\u201d version facilitated a lower rating and better audience exposure to the subject matter.\u00a0 As a former BBC World News anchor, Garapedian noted that the project had BBC involvement, which also demanded objectivity and an avoidance of censorship.\u00a0 Garapedian went on to mention that the Turkish government continues to deny the genocide, and may be doing so to avoid both feelings of guilt and calls for financial repatriation. \u00a0In the film, there are passing allegations that House Speaker Dennis Hastert had taken bribes to block a resolution on the genocide, and Garapedian suggested that potential lawsuits prevented her from exploring the issue, but in hindsight she would have liked to pursue the issue further.<\/p>\n

Following the Ninth: In the Footsteps of Beethoven\u2019s Final Symphony\u00a0<\/em>brings to the discussion the role of this iconic piece of music in moments of resistance.\u00a0 Kerry Candaele brought to his film instances of the piece in protests around the world: in Tiananmen Square, in Chile as women protested the disappearance of men during Pinochet\u2019s rule, and under the baton of Leonard Bernstein during the fall of the Berlin Wall. \u00a0Candaele had accidently run into the Ninth Symphony in the tape deck of a borrowed car and fell in love with the music.\u00a0 When asked why he thought Beethoven\u2019s Ninth – and \u201cOde to Joy\u201d in particular – has become such a universal theme, Candaele said that \u201cOne simple answer is the music is so great, period.\u00a0 Another simple answer that the \u2018Ode to Joy\u2019 theme is simple: it is not complicated. Any person can play it, hum it or whistle it — any child can get at it.\u201d\u00a0\u00a0Following the Ninth<\/em>\u00a0brings together a number of interviews that support this view, and in the questions after the screening he elaborated,<\/p>\n

In general (Beethoven) is an advocate for the rights of man. You can hear it \u2026 at the end you want to get out of your seat. It\u2019s a surprise that people don\u2019t dance to this thing when it\u2019s performed at Disney Hall. You want to get up and you want to shout and you want to celebrate -you want to celebrate hope!<\/p>\n

 <\/p>\n

When asked why he felt compelled to make this film, he noted that he \u201cheard this music and fell in love with it.\u201d\u00a0 In a larger sense, he also wanted to convey this celebration of hope.\u00a0\u00a0 \u201cErring on the side of chastened hope is where I sit with all of this stuff. I mean, you can open the paper every day and see the misery and the killings and the destruction and what humans are capable of doing to one another. But I can\u2019t live in that cynicism.\u201d<\/p>\n

 <\/p>\n

Sunday\u2019s symposium on music and resistance to genocide began with a call from the organizers to actively listen \u2013 to use the opportunity to engage with the scholars and the ideas presented.\u00a0 Gruner and Strimple encouraged scholars and attendees alike to ask questions and bring their experiences to the discussion.\u00a0 Attendees from the Jewish community of Los Angeles were in strong attendance for the first panel, and included the former Director and Curator of the Los Angeles Museum of the Holocaust, Marcia Josephy; UCLA\u2019s Music Programs Coordinator for the Mickey Katz Endowed Chair in Jewish Music, Neal Brostoff; and Los Angeles\u2019 own Cantor Aviva Rosenbloom.<\/p>\n

 <\/p>\n

Lorry Black of the USC Thornton School of Music introduced the two speakers in the first panel of the day.\u00a0 Bret Werb presented a paper entitled \u201cCensorship, Sabotage, and Self-Subversion in the Yiddish\u00a0Shoah<\/em>\u00a0Song,\u201d in which he investigated the strategies songwriters in the ghettos used to avoid censorship and punishment while integrating subversive ideas and calls to action in popular song.\u00a0 He argued that textual changes to existing popular songs, and newly-created songs spread quickly by ear and functioned as both entertainment and subversive resistance to \u201can otherwise unassailable enemy.\u201d\u00a0 Werb, who is the Music Curator of the U.S. Holocaust Memorial Museum, brought to the presentation an assortment of examples, both print and recorded, to illustrate his points.\u00a0 Discussions around the topic brought to light the subtlety required of the song writers to avoid identification and punishment, and the need for topical songs to quickly gain anonymity and enter the local oral tradition.\u00a0 Werb also discussed the role of musical and political resistance in changing the lyrics of popular song to overt political or aggressive messages, and the reception these songs had in the ghetto and beyond.<\/p>\n

 <\/p>\n

Tina Fr\u00fchauf presented the second paper, \u201cSounds before Surrender: Theory and Actuality of Jewish Musical Resistance under Nazi Rule,\u201d in which she refigured the idea of a collective identity in musical resistance, demonstrating that musical resistance is usually the result of individual agency, and often can only be considered an act of collective resistance in retrospect.\u00a0 Fr\u00fchauf supported her thesis through a number of examples of musical moments performed by Jews in hiding or not yet deported.\u00a0 Discussions quickly turned to ideas of collective identity in resistance, and the role of music in acts of resistance, with clear parallels to the Civil Rights era in the United States.\u00a0 Both Fr\u00fchauf and Werb discussed the role of archival materials and firsthand accounts in such recreations, as only a small fraction of such musical moments have been documented, saved or remembered.<\/p>\n

 <\/p>\n

Scott Spencer of both the USC Shoah Foundation and the USC Thornton School of Music introduced the second panel of the day.\u00a0 Barbara Milewski of Swarthmore College presented \u201cLudwik Starski\u2019s\u00a0Forbidden Songs\u00a0<\/em>and an Overlooked Narrative of Polish Jewish Experience in Occupied Warsaw.\u201d Starski\u2019s film was originally presented as a fragmented documentary about Polish songs of resistance during Nazi oppression.\u00a0 The eventual extended version premiered on January 8, 1947 to severe criticism, and was withdrawn three months later with strict instructions to include more German brutality and a stronger emphasis on Soviet liberation. Milewski used the film and its reception to discuss the differences between private and official memory, and the role of folk song in public memory and collective processing.\u00a0 Some of the most poignant moments involved Milewski\u2019s research into the film\u2019s musicians.\u00a0 Though the singers were presented as anonymous in the film, each had a complicated history and trajectory through the war.\u00a0 Discussions of film censorship included Milewski noting that Chopin’s \u201c\u015apiew z mogi\u0142ki\u201d [Song from the Grave] was the only song cut from the original version, and Starski\u2019s own “Warszawo ma” [My Warsaw], though highly critical, became an important anthem of the suffering of the people of Warsaw during the war.<\/p>\n

 <\/p>\n

Alexandra Birch of Arizona State University presented \u201cJewish Themes in the Music of Shostakovich: Commemoration and Resistance,\u201d in which she discussed the role of ethnic musical motifs used by Shostakovich in his compositions, and his delicate dance with the state censors.\u00a0 Birch was kind enough to bring her violin, and demonstrated many of the themes for the attendees.\u00a0 Her paper analyzed Shostakovich\u2019s limited range of acceptable modes of musical resistance within the bounds of Soviet ideology, and his subtle use of cantorial themes to evoke ideas of resistance to those listeners who could identify these themes, while avoiding widespread recognition of his compositional acts of resistance and subsequent censorship.\u00a0 Birch\u2019s musical examples on the violin were stunning, and she was prevailed upon for an encore, performing an excerpt of a Beethoven violin concerto to great acclaim.<\/p>\n

 <\/p>\n

Aleksandra Visser, a former music student at the USC Thornton School of Music and currently with the USC Shoah Foundation, introduced the third panel of the afternoon.\u00a0 Janie Cole of the University of Cape Town presented \u201cWe the Black Nation<\/em>: Music as Resistance in the<\/p>\n

Struggle Against Apartheid in South Africa,\u201d in which she traced the history of songs of resistance in South Africa\u2019s anti-apartheid movement.\u00a0 Drawing from her moving interviews with women who had been imprisoned for political involvement, Cole demonstrated how \u201cfreedom songs\u201d in South Africa changed with social movements and responded to the political climate of the day.\u00a0 Of particular impact were accounts by women who shared songs while incarcerated, using the melodies to bridge ethnic, language and political differences and create common bonds of experience and identity.<\/p>\n

 <\/p>\n

Sandya Maulana of the Department of English, Universitas Padjadjaran in Bandung, Indonesia, then presented \u201cThe Song, Not the Singer: \u2018Gendjer-gendjer\u2019 Today and the Changing Perspective on Indonesian Communist Purge.\u201d\u00a0 Maulana traced the history of \u201cGendjer-gendjer,\u201d a popular song about suffering and hunger during the Japanese occupation, and its changing meaning and popular embrace over time.\u00a0 Originally composed by Muhammad Arief, it became an icon of the Indonesian Communist party in the early 1960s, and was banned in the communist purge after the failed\u00a0coup d\u2019\u00e9tat<\/em>\u00a0of 1965.\u00a0 The song became available again after the collapse of the New Order in 1998, and today each performance of \u201cGendjer-gendjer\u201d is fraught with layers of political and historical meaning.\u00a0 Maulana explored performances by a few modern musicians, including the Los Angeles band Dengue Fever, as he unpacked the song\u2019s history and associated stigma through the musician\u2019s own words and instances of audience reception.<\/p>\n

 <\/p>\n

Discussions following the panel turned to the popular association of song with political movement through mass media (\u201cGendjer-gendjer\u201d had been used in a political propaganda film and a number of generations in Indonesia associated the song with a particular instance of political torture) and the role of time and context in disassociating those relationships.\u00a0 Both panelists went on to discuss the reconceptualization of resistance song in popular musical forms, including Paul Simon\u2019s use of protest song in\u00a0Graceland<\/em>, and the new role of \u201cGendjer-gendjer\u201d on the internet and in the Indonesian diaspora.<\/p>\n

 <\/p>\n

Daniel Newman-Lessler, a former student at the Thornton School of Music, introduced the last panel of the day. The final paper, \u201cThe Resistant Soundtrack: The Role of Film Music in Promoting On-screen and Off-screen Resistance to Genocide\u201d was presented by Matt Lawson of Edge Hill University in the U.K.\u00a0 Lawson presented moments from four films,\u00a0Nuit et Brouillard\u00a0<\/em>(1955),\u00a0Life is Beautiful\u00a0<\/em>(1997),\u00a0The Grey Zone\u00a0<\/em>(2001) and\u00a0Fateless\u00a0<\/em>(2005), in an attempt to theorize the place of resistance in film music.\u00a0 In particular, Lawson explored the impact that contextualization in a film could have on ideas of musical resistance.\u00a0 The paper rounded out the symposium perfectly, as it raised more question than gave answers.\u00a0 An extended conversation among panelists and attendees questioned the role of interdisciplinary approaches to understanding musical intentions; the nature of musical resistance and reproduction of moments of resistance; the plausibility of using music which was not composed as an oppositional act in a broadcast moment conveying musical resistance; and the source of musical resistance in both theory and practice.\u00a0 Professors Gruner and Strimple ended the day with a discussion of the topics raised over the course of the symposium, and made a call to develop a greater theory and definition of musical resistance which could be applied across musical genres and regions.<\/p>\n

 <\/p>\n

The symposium ended with a concert by members of the USC Thornton Chamber Singers, a variety of Thornton music students, and archival clips of poignant musical examples presented by Lorry Black. Of particular note, the Chamber Singers performed simultaneously \u201cThe Internationale\u201d and \u201cBuchenwald-Lied,\u201d as was done in Buchenwald concentration camp in 1938.\u00a0 In addition to a magnificent string ensemble performance, USC students from Thornton School\u2019s Popular Music program presented a version of George Harrison\u2019s \u201cBangladesh,\u201d tying ideas of musical resistance to multiple time periods and political movements.<\/p>\n<\/div>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":140,"featured_media":5451,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13],"tags":[],"class_list":["post-1258","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"yoast_head":"\nSinging in the Lion's Mouth: Music as Resistance to Genocide (A Reflection)<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dornsife.usc.edu\/cagr\/2015\/10\/30\/singing-in-the-lions-mouth-music-as-resistance-to-genocide-a-reflection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Singing in the Lion's Mouth: Music as Resistance to Genocide (A Reflection) - 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