Verboden muziek is van alle tijden. Niet voor niets vraagt de muziekwereld jaarlijks aandacht voor muziekcensuur op Music Freedom Day, 3 maart. In 2012 gebeurt dit in Nederland met programma's in Amsterdam en Den Haag.
In Amsterdam organiseren de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (KVNM) en de BAKE Society For Perfoming Arts Worldwide het tweedaagse internationale congres Music, Oppression and resistance [zie onderstaand programma]. Het congres is op 2 en 3 maart, met aansluitend, op Music Freedom Day zelf, een debat- en filmprogramma in het Tropentheater in Amsterdam. In Den Haag heeft Theater De Regentes speciaal voor Music Freedom Day het Oeigoerse Ensemble Mäshräp uitgenodigd. Het ensemble speelt op 3 maart in het theater.
Music Freedom Day en muziekcensuur
PROGRAMMA INTERNATIONALE CONFERENTIE MUSIC, OPPRESSION AND RESISTANCE EN MUSIC FREEDOM DAY
2 en 3 maart 2012, Universiteit van Amsterdam en Tropentheater
Friday 2 March
09.30-10.00: Registration at Nieuwe Doelenstraat 16
10.00-10.15: Welcome, introduction
Anna Windisch (Alberta, Vienna) examines community singing in American movie theatres during the First World War (from the American war entry in 1917), when the illustrated song was utilized as a tool for propaganda.
Abby Anderton (Ann Arbor, Michigan) examines how the Berlin Philharmonic was subjected to the will of the American occupational government after World War II, as at the same time the orchestra struggled to shed its former associations with National Socialism.
Joseph Toltz (Sydney, Australia) will speak on the cultural activities, and function and place of everyday song in the Terezin ghetto (1941-1945). Since the 1970s when violinist Joza Karas rediscovered compositions from Terezin in the Prague Jewish Museum, a body of literature has been generated on this unique programme of cultural life.
Ulrike Petersen (Hamburg & Berkeley) looks at the limited success of the Reichstelle für Musikbearbeitungen in 'Aryanizing' (classical) works of music, through Viennese cabarettist Rudolf Wey’s unfinished 1944 edition of Lehár’s Der Rastelbinder (1902). Weys’ case shows that musical theatre could be a lifeline for authors under the Nazi regime.
14.00-14.30: Musical workshop
14.30-16.45: Presentations in parallel sessions
Mojca Kovaäiä (Slovenia) presents historical facts about the withdrawal of bells and prohibitions of bell ringing in Slovenia. She relates narratives about the consequences of such repression, highlighting a period of the communist regime, linking it to present-day forms of resistance against bell ringing.
With reference to the conflict in Kosovo, Alma Bejtullahu (Slovenia) asks how a censored music of the oppressed becomes part of the revolt, resistance and eventually a companion in a violent engagement.
Cornelia Nuxoll (Göttingen, Germany) discusses field research among former Sierra Leone rebels to explore the relevance and impact of music in their lives as soldiers during the 1990s civil war there.
Fabienne van Eck (Netherlands & Jerusalem) looks at the theme of culturally sensitive music education in conflict areas, through her own experiences as a workshop leader and trainer in the Middle East and Africa.
The popularity of Taiwanese singer Teresa Teng (1964-1995) transcended national barriers from Taiwan to Communist China as well as Japan, during the Cold War period. Chenching Cheng (Peking & Edinburgh) examines how the pulse of an era can be felt by focusing on its popular music.
Caroline Waight (Cornell, Ithaca) considers two different performances of German singer Nina Hagen’s song, Du hast den Farbfilm vergessen (“You forgot the colour film”). She identifies satire of the GDR’s attempts to build national identity and explores the contingency of irony in the oppressive political environment of East Germany.
Protest songs: Andrea LaRose (Erlangen, Germany) uses transcription and analysis of improvisations from recordings of Frederic Rzewski’s oeuvre to examine how the political manifests at every level of his music.
Klaus Kuiper (The Hague & Amsterdam) gives instances of music used as an instrument of torture or irritation, including at Guantanamo Bay, in several wartime situations, and curiously the playing of classical music in public spaces to chase away jobless youngsters.
Music as torture [Dutch], Nicole Janssen, Amnesty Nederland (2007)
16.45-17.15: Plenary discussion
17.30-18.15: Drinks, music
Saturday 3 March
09.00-09.30: Registration at Nieuwe Doelenstraat 16
09.35-10.20: Keynote speech
The keynote speech of Morag. J. Grant (Göttingen, Germany) will look at how to theorize the role of music and musicality in war, offering a possible framework for such a theory from the perspective of social musicology.
Jan van Belle (Netherlands) reports on three periods of censorship of music in Afghanistan. The consequences of these periods left deep wounds in Afghan musical life, which even today are still apparent.
Miriam Brenner’s contribution (Amsterdam, Nijmegen, Utrecht) is on the evolution of Tuvan music in the (post) Soviet era. She shows how music was regulated from the heart of Moscow to the outskirts of the steppe through a culture and music mandate. Tuvan music styles and genres faced near extinction because of the harsh enforcement of the mandate
Frank van den Berg (Netherlands) compares musical censorship policies in Portugal, Spain and Greece during the reactionary dictatorships of respectively Salazar, Franco and Metaxas.
Joe Stroud (Edinburgh) considers the legislation in Germany, Great Britain and Sweden which is designed to establish a boundary between freedom of expression and hate crime, and the impact this has on bands associated with the extreme-right music scene.