By Mark Mattern
I'm a pupil of Mark Mattern at Baldwin-Wallace collage. This publication presents a few perception into a space of Political technology that doesn't mentioned in educational literature. A needs to learn for Political technological know-how majors round the nation.
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Additional info for Acting in Concert: Music, Community, and Political Action
See, for example, Bernice Johnson Reagon, "The Power of Communal Song" (1985). A program with the same title aired over National Public Radio on February 6, 1994, and described the role of songs such as "We Shall Overcome" in helping civil rights workers maintain courage and resolve. 10. For a summary and application of the three faces of power, see John Gaventa (1980). See Peter Digeser (1992) for a discussion of a fourth face of power, derived primarily from the work of Michel Foucault, that is "productive of subjects, accompanied by resistance, twined with knowledge, .
Carrasco (1988, 68, 75). One of the most important nueva canciÃ³n groups of this period was QuilapayÃºn, formed in 1965 by university students in Santiago. Members of the group saw their task as addressing the "absence of authenticity" in Chilean culture, which was increasingly dominated by foreign influences, especially European, Anglo, and North American. They set out to recover an authentic Chilean identity, to answer the question of who they were as Chileans, to discover their roots and origins, and to answer the question of Chilean cultural inconsistency.
Nevertheless, non-Indians were sometimes invited to join Indians in forming entirely new communities for political purposes. In these cases, the boundaries of community were not simply blurred but re-created. The boundaries of the Cajun community were the most indistinct of the three cases. They are subject to ongoing debate among Cajuns, and many non-Cajuns regularly engage in the musical practices that define Cajun identity and community, contributing to further blurring. Music can bridge borders between communities but can also undermine those bridges.
Acting in Concert: Music, Community, and Political Action by Mark Mattern