Reflecting Today: The World Through My Eyes

          The Earth’s surface is approximately seventy-one percent water. Life as we know it relies on the presence and capabilities of the water. It shapes the world physically, much in the same way that music shapes the world culturally.  As global citizens, we cover the Earth and contour the population into distinct social and political groups, creating the communities we currently live in today. It is our responsibility, as people of the world to connect with others, locally and world wide, so that perhaps through gradual change, we one day can create a global community where cultures experience unity.

Water depends on the wind to make waves. It grips onto superficial water molecules and those particles subsequently push other molecules; small ripples soon form. As the ripples pick up speed and strength, more powerful waves are created. As global citizens, we can act as the initial water molecules in our communities, instilling ideas and passing them along, creating waves of innovations. A simple lifestyle adaptation, such as buying local produce, can significantly alter the shared habits of a cultural cohort for the individuals within a social group strive to belong, so collectively, everyone adopts this new practice of purchasing locally grown vegetables. Indexical relationships evolve due to new life experience. In an effort to cultivate cultural cohesiveness, people mimic culturally accepted everyday habits of ideal citizens, eventually giving way to social discourses. Small modifications in trivial parts of live can lead to eventual modification of communicates, even within the simplicity of the local scale. When neighbors and peers become more efficient communicators and learn how to incorporate more culturally beneficial practices into daily life, a positive ripple of good effects is instituted just as the wind creates ripples of waves in the water

Individuals can also create change within nations. When any group is focused on the same goal, a special type of bond forms; the people are able to understand each other on a more honest, organic, personal level. As global citizens, we must have goals and visions for the future, for without aspirations, we do not have the direction needed to induce change on a worldwide level. Indeed, there is strength in numbers, but this strength begins at the national level. Goal-oriented cultural formations understand the necessity of working together, and therefore value the whole above the parts. Even if there is not an immediate personal gain, the satisfaction, which arises as a result of changing a population in a positive way, instills feelings of success amidst a people, which furthermore crafts unity among characters within a group. National populations can change as cultural formations unite to create a peaceful amalgamation of acceptance. With this type of coherence, people motivate each other in a manner similar to the way water molecules urge each other forward, and soon, waves begin to form and grow, the world begins to change and advance.

The effect a citizen has on a member of another country when he reaches out to communicate is not unlike the result in the water when the wind reaches out to create a wave. This style of connectivity between people, cross-continentally, fosters a global community. Somewhere in this community, we all belong, for we are all one culturally similar formation, we are citizens of the same global population. As the water shapes the world through weathering and erosion, the nations shape each other through influential actions, encouraging change and unification among the individuals who amass to form the population of the world.

When looking out at the ocean, it is impossible to see where the waves originate; there is no clear beginning or end to the cyclical motion of the ripples. The connections between people all over the world act similarly, continuously affecting each other, yet never clearly originating from one specific location. However, within the oceans, the ripples overlap harmoniously to form a splendid model of the potential positive outcomes that the formation of a global community can potentially lead to. In order to be a productive citizen of this world formation, we must take responsibility for our own thoughts, actions, and prejudices. Similarly, we must be willing to look beyond the cultural discourses that we have been conditioned to accept, and learn to open our minds. By becoming engaged in the challenges and successes that occur in the lives of our fellow citizens all over the world, we can move more easily towards unification and motivate each other to work together; across the population, waves of positivity ensue.

Change, however, can be dangerous. As the world continues to evolve, there is potential for globalization to result in great benefits, yet there is also a possibility that there will be irreversible repercussions. It is only when the ideals of Westernized thought fuse with the traditions of third-world participatory communities that total inclusion is reached, and true unification arises. However, it is important to remember that wind is needed to start a wave, and music is the wind among the waves of the global population. People act in accordance to their music. Some would think of musicians involved in making the tunes and inquire, “For love or for money?” I would argue that music is for love and for money. It is for equality and separation, for communication, verbally and non-verbally. Music reveals truths as well as exposes falsehoods. As global citizens, we need to be aware of the multi-faceted power of music, for its capabilities are endless.  Aristotle once said, “We are what we repeatedly do,” but after deeply analyzing the power of music in the world, I now conclude that we are what we repeatedly “music.” If all of the global citizens could unify through a shared musical identity, we would have such greater capacity to resolve conflict without violence. Ultimately, there is hope that we will all “music” for equality, and “music” for peace.  There is hope that certain prejudicial cultural discourses will fail to progenerate, and the concept of acceptance will be more commonly accepted. There is hope that we can learn to survive together, instead of pushing each other apart. However, the most marvelous realization of my entire experience is that this type of hope is not at all far fetched, for it only takes a little wind to start a wave.

An Irish Music Experience

Although the foundation of Irish music was originally established by the Celts centuries ago, the genre still is valued in the lives of people from many cultures, Irish and other.  The music is not complicated, but there is not a need for intense intricacies for the tunes are all very similar. This subsequently induces a sense of familiarity within the participants and the listeners. However, what truly seems to be of importance to an Irish music group, such as the one I observed, is the calm and mindfully open environment that is created by the presence of the sound and the characters of those involved.

            The small group of individuals who actually participated in making the Irish music also was able to establish an extremely relaxed feel in the Runcible Spoon, which could noticibly be observed within each cultural cluster in the restaurant. A group of college students, along with two Asian men, and a young couple were all completely at ease, and even more talkative, while in the presence of the Irish music. Based on this observation, I will state that the musicians were successful in their attempt to create an atmosphere in which everyone involved could repose.  Likewise, the musicians themselves shared this same sense of serenity.  Even a man visiting the group from Indianapolis explained how Irish music is an integral part of his life, describing the genre as “addicting.” Delving further into the role of this man within the music circle, I enquired how he became involved in this type of activity. He elaborated on his prior experience with drum set, remarking that “It was a very natural progression from drum set to Irish drum,” which I personally think summarizes the event taking place at the restaurant: a very natural progression. Interestingly, the participants were seated in circular formation, which seemed to encourage this “natural progression” of sound, allowing an invisible stream of thoughts and ideas among the individuals, which could then be transformed into harmonious sound.

            Equally notable was the ability each participant had to transition seamlessly between verbal and nonverbal communication; spoken conversation arose effortlessly, but so did musical conversation.  Together, the musicians dismantled any possibility of the creation of boundaries, which resultantly added to the welcoming feel within the small room. The utilization of grace notes in the tunes established the amicable attitude of the music, along with the consistency of the keys of D and G, making the tunes sound similar, yet familiar, which is important because with familiarity comes comfort.

            The man with the accordion appeared to have the most dominant influence on the decision of what song to play next, but it was obvious to me, as the observer, that the input of everyone present was valued.  Quiet, ethereal forms of nonverbal cues signaled for the conclusion of a song, commonly occurring within the penultimate line or measure of the tune being played. Commonly the participants would chatter between songs, illustrating the camaraderie that this type of socially musical activity cultivates. The understanding of this sort of togetherness among the musicians allows for the presence of flow, which subsequently leads to the fulfillment of each individual’s need for a sense of belonging; the coherence between the thoughts and actions of those involved leads to the creation of a cultural cohort founded in music.

            Conclusively, my observations of the Irish musicians at the Runcible Spoon allow me to infer that the people included in this cohort cherish a style of music making that is open minded and welcoming to tradition as well as to innovation. Moreover, this assemblage remarkably places more value on the group rather than the individual, which I think is evidence of the participatory nature of the event. Even though each person had their own unique set of skills and opinions, they shared a common personality trait: everyone involved could effortlessly see past possible cultural discourses. This particular perspective allows the people involved to appreciate each other for what they contribute to the Irish music, and therefore makes the Tuesday evening event not only a musical experience, but also a simultaneously enjoyable outing for friends, a social escape. Culturally, these people prioritize a sense of belonging and feeling of warmth higher than the virtuosity of performance. I think that this musical group perfectly exhibits how the involvement within a cohort founded in music yields to a more open minded internal context, resulting not only in a greater acceptance of self, but in a deeper understanding of others.

Punk and Globalization

            Opposites do not attract. Especially when trying to commingle ideals that have been accepted for eras among cultures, divergent ways of thinking do not fuse easily. It is difficult for me to imagine a way to peacefully globalize a so-called Western way of thinking while simultaneously maintaining cultural diversity within countries where religious dogmas are so different. However, I personally think it is possible, and furthermore necessary, to conceptualize a world in which Western ideas can be instilled within Islamic countries, yet cultural differences can be preserved, for without this way of thinking, people will continue to live divided by opposition.

            The glimpse into the Brazilian and Indonesian cultures, which The Punks Are Alright has allowed me to see, has completely opened my mind to the possibility that the individuals who compose the youth of the world are more alike that I once thought. Now I see that people all over the world share the same need for freedom and love, especially the youth, whereas I once imagined that other non-Western cultures might have perceived these characteristics in life as having lesser value.  Although Brazil has the largest Catholic population in the world, there is still an intense amount of drug-related violence that occurs all over the country, severely affecting the teenage population. Without any hope of escape from the brutality of their lives, young Brazilians become overwhelmed with temptation to take the easy path out of their impoverished families and into the drug trade to make more money. Similarly, the youth of Indonesia often times must accept jobs that are dangerous and unhealthy simply to bring in enough income to survive.  These types of unfortunate life decisions intensify the socio-economical challenges that plague the world.

To escape the tormenting challenges daily life poses, the youth of these countries turn to the thrashing, headstrong, musically simplistic genre of punk for relief. Interestingly, this music allows for expression against oppression for the teens of these communities, moreover providing a source of physical, verbal and mental freedom from the hardships of daily life.  This concept has changed the way I see other cultures, for it is within this type of Westernized expression that the youth of these countries seek solace, illustrating that all of us young people are more alike that I once had thought.

            Everyone needs some type of catharsis. Without inflicting physical harm, people of all countries should be able to find a method to release themselves from the stresses encountered each day. As communicated by the lead singer of the Brazilian punk band, the Blind Pigs, the young people of Brazil lead extremely hardcore lives, filled with violence and affliction. Stress is unavoidable.  He also elaborates on his the influence his father had on him as he grew up. Although our lives are extremely different, I can relate to his need for an outlet of stress in life through music, a cathartic method of expressing oneself. Even though I do not have this hunger for punk music that Henrike does, I love his statement that “It (punk) is not a phase I’m going through, it’s what I am,” for this illustrates how important the musical component of his daily life is.  Contrastingly, I cannot identify with Dolly from Indonesia in very many ways, except to say that music is a vital element of my life just as it is in his.  It is mentally painful to conjure images of what day-to-day life must be like for these artists, but by doing so, I now see that individuals in non-Western countries would benefit from the globalization of certain notions, and ultimately, we all need music to satisfy our needs.

            Without question, the lives of the global population are interconnected in an immeasurable amount of ways. However, Westerners often times unintentionally enable oppression in the third world. Our dependence of foreign industries requires us to buy clothing and shoes from companies who do not prioritize the needs of their workers, such as the factory that Dolly works in.  It is important to recognize that every action we take does have a consequence, and by embracing the freedoms that the Western world offers us, we are capable of dispelling the hope for similar freedom in other countries like Indonesia, where the outsourcing of companies and jobs had lead to much hardship. The documentary has helped me to realize that simple actions, such as buying a special type of running shoe, can severely affect another individual on the other side of the planet. Likewise, I now am more aware of the complexity of the connection I have with the youth of other cultures. Through the elaboration of the effects of punk music on the young people in Islamic countries, I understand more clearly that we are all searching for a way to satisfy our need to belong, and our desire to live with purpose. The documentary sheds light on the way that punk music caters to these needs for young people in third world countries, but more personally, it has shown me that if we look closely, all we are truly looking for is an uncomplicated way to experience freedom of expression.

            Unification through music leads to alternate ways of thinking, which therefore can transcend into innovative methods of solving problems without violence. Punk music has the capability to influence political movements such as the controversial downfall of Suharto in 1998 Indonesia. Perhaps this is due to the fact that punk is easily relatable cross-culturally. Its simple musical ideas and predictable chord progressions appeal to many youthful audiences, leading to increased popularity among young populations. This sort of recognition unites people, therefore creating strength within groups of unified people, leading to influential strength in political movements.  Shared musical identity also encourages the breakdown of discriminatory discourses, which furthermore solidifies my opinion that global unification is possible through the globalization of Western ideas and the acceptance of Islamic cultures.

Bloomington Farmers' Market

The Bloomington Farmers' Market operates as a complex system. Initially, the gathering simply looks like a meeting place for community members to share and purchase various food and art. However, after taking a more in-depth look, I discovered that certain aspects of the market are totally dependent on the music being heard and the age of the people involved. At the time I attended the event, only two groups of music were performing: a high school jazz band and a local church band. Interestingly, the jazz band seemed to attract families, especially young families; mothers with strollers gathered near the teenage musicians, for their children eagerly wanted to see the performers. On the other hand, the church band seemed to attract older community members. Another interesting aspect of the market was the somewhat constant concentration levels of the population in certain areas. As depicted by my map, the highest concentration of people (dark purple) could be found near the musical performers. In locations where the music was not as intense, the concentration of people was also less intense (light purple). When interpreting this observation, I found it necessary to refer to the age differences within the highly concentrated areas. Crosses, triangles and, stars illustrate young, middle-aged, and older community members respectively, and through this depiction, one can infer that all ages enjoyed listening to music at the farmers' market.

Moroccan Musical Movements

            Unquestionably, there is strength in numbers. A group of people will be more powerful than a lone individual, especially in a combative situation.  Music can connect people, forming assemblies that can have intense influential power. As demonstrated in the “I Love Hip-Hop in Morocco” music festival, hip-hop music can function as a tool of unification during times of heated religious tension and political altercations.

            In instances of unrest, it is vital that a country look to instill change within the youth, for it is this young sector of the population that truly has the capability to enforce and live out transformations made within both government and religion.  In locations where religion heavily influences government, such as Morocco, it is difficult for an individual to express radical ideas due to a lack of free speech. Young people must turn to other sources of expression. A member of the popular Moroccan hip-hop group, H Kayne, relays how hip-hop music is an escape from “this,” referring to the strife of daily life in a country where religious restrictions severely limit possibilities of free speech.  Through music, people can expressive themselves in a manner that is not as caustic as plainly spoken word.  Similarly elaborating on these ideas, another hip-hop artist by the name of Mousshine explains how an individual can use hip-hop music to point out potentially offensive topics. Through these revelations it becomes clear that popular culture shapes the culture of youth by providing an otherwise unavailable way for young people to express ideas.

            Tyrannical rulers in many middle-eastern countries have presented western globalization as a negative occurrence; it is something to be avoided or even fought against. However, hostility caused by this type of separation between the western way of living and the practices of the middle-eastern countries is completely unnecessary. Globalization does not have to be viewed as a result of forfeit or a repercussion of shared ideas. Likewise, countries that differ in widely accepted religious dispositions are not forbidden from agreeing on other matters. The hip-hop artists of Morocco have made great strides in their effort to negotiate the pressures from society on topics such as Islamism and globalization. For example, Fati Show, one of the premier female hip hop artist of Morocco, proves that it is indeed possible to continue to be pious while also endorsing controversial opinions through music. Internally and externally, the Moroccan artists have demonstrated that music can unite people and change the perspective of masses, making it plausible to overcome cultural discourses.

            Monetary endorsement from American companies and from the American Embassy enabled the Moroccan artists to go forth on their endeavor to be heard through live performance.  Without this type of financial support, it would not have been possible for the festival to materialize. Some would argue that the United State’s involvement in this undertaking was completely uncalled for. Others would endorse the belief that a much greater amount of the federal budget should be allotted for foreign affairs of this nature.  When discussing how much money, if any, should be set aside for American involvement in undertakings such as the “I Love Hip-Hop in Morocco” music festival, I think that the United States needs to be extremely cautious. Prioritization is essential. America has an immeasurable amount of internal problems that should take precedence over foreign affairs. Additionally, I think it is confusing for the United States to depict the middle-eastern culture as a people we are against, but then to simultaneously aid these cultures in helping their artist to succeed. However, I strongly feel that America should be involved in peaceful interactions with other countries. If there is an option to solve a conflict without violence, then undoubtedly that is the course of action to take. I am aware that the festival in Morocco was extremely successful, and I realize that this was largely due to the fact that America aided the country, but I see this through a retrospective view. If I had been involved at the time that the decision was made by the American Embassy, I would most likely have been skeptical to the country’s contribution. After all, America could have used that money to instill change within its own states.

Reacting more enthusiastically than anticipated, the youthful audience of the “I Love Hip-Hop in Morocco” festival came together with desire to take a stand and initiate change. The artists were able to influence the young Moroccans through emotional contagion, passing along their hope for the freedom to make choices and the zeal needed to aim for such ambitious goals. The people were united by the vision of an improved Morocco, and therefore were able to overcome a cultural discourse. By dissecting certain preexisting indices, people are able to pair alternative objects with certain signs, resulting in evolved interpretants based on new experiences. Regardless of political orientation, humankind must learn to accept the notion that shared cultural traits can result in peacefulness. Instead of viewing foreign countries as  “them” and “the others,” the acceptance of a unified “us” is essential. The connection established among the Moroccan youth exemplifies that through music, this concept can be shared.

American Stereotype vs Arab Reality

            Frames are established by authority figures. In our lives, the contexts that we use to interpret different signs are created by the emulation of our role models, primarily our parents, and by careful observation of our immediate surroundings. Growing up in post-9/11 America, most of my peers and I have been exposed to the concept of terrorism through the perception of our mothers, fathers, and teachers, who view terrorists as violent men who possesses weapons, abuse women, and can be classified as middle-eastern Arabs. Throughout life, the notion that terrorists are merciless Arabic villains has been reinforced through the portrayal of this conceptual figure in entertainment media.

            Several ideas seem to repeat in many of the movie excerpts used in Reel Bad Arabs illustrating the potential for the potent influence the use of redundancy in communication can have.  Particularly striking to me was the consistent use of violence to portray Arabic people. In almost all of the films, men are characterized by their brutal dispositions and abusive personalities. The role of women in these movies has evolved from submissive wives to aggressive rebels, who likewise take part in terroristic missions. Even Arab children are portrayed as cruel beings, as seen in Rules of Engagement in which the young girl ultimately shoots American soldiers. Along with this repetition of violent personality traits, I was struck by the way the Arab people were represented by incompetent characters. These types of controversial moments in the film snippets, in which the Arabic individual reveals such stupidity, seems equally noteworthy because they took the stereotype I have accepted of a terrorist exhibiting a violent temperament. I subsequently paired them with the quality of foolishness, further urging me to despise this type of figure.

This scene previously mentioned of the young girl with the weapon resonates in my mind as disturbing and awful, but perhaps even more perturbing is the fact that James Webb, former Secretary of the Navy, wrote the screenplay. I perceive the child as a corrupt Arab who very likely will mature into a terrorist, but it is plausible that I have reacted in the exact way the writer had hoped.  In all honesty, I exhibit the powerful influence that leaders can have over people, thereby enforcing the fact that the repetition of an idea through media can determine the way a population thinks.  This depiction of my own personal connection between the Arab child as the sign and the potential for a terrorist as the object together demonstrates the consequence involved with the American film industry portraying the Arab people in such a manner.  If the leaders want the population of the United States to view Arab people with intense despisement, essentially all they must do is repeatedly present the culture through a condescending perspective. Rulers can condition their people to incorporate certain sociopolitical opinions into their own way of thinking, therefore reinforcing the object of the Arab sign.

              Although I recognized only a mere five movies included in this documentary, I had never before reacted to them with such a critical eye. Before opening my mind to other perspectives, I had always accepted the indexical relationship between and a terrorist and an Arab. Also, I realize that at one point in my life I knew almost every lyric to the Aladdin soundtrack; however, I am certain that I never interpreted them as so derisive.  To be quite honest, I was not cognizant of the discriminatory nature of the Arab character the first times I saw movies such as Back to the Future or The Father of the Bride: Part 2. Subconsciously, I simply accepted the stereotype and moved on, anticipating the hero’s victory in the storyline. Relating primarily to the American figure in the movies I recognized, my previous experience with the specific portrayal of the Arab people we have discussed in class has always been superficial in nature, whereas I have accepted the conceptualized image of a terrorist; I have proven the power of redundant ideas in media.

              Ultimately, this documentary sheds light on the influential potential of popular culture, especially movies. Films, in spite of truth, evidence certain ideas by crafting them into viewable, relatable scenes.  Parts of movies that introduce middle-eastern Arabs with villainous nuances confirm the stereotypical opinions that Americans are conditioned to have. Presenting Arabs as a violent cultural group, accepting them as unchanging over time, and branding the Islam religion with the label of “enemy” cultivate a unified mindset of the American population, as I have already experienced. We begin to scrutinize our surroundings from a young age and continue to monitor what our role models are doing. Celebrities and other prominent figures in the media instigate certain opinions, political as well as racial. In my opinion, pop culture not only shapes comprehension of self and other, but also, it creates these conceptions. We must be aware of the leverage mass media can have over a people and learn from the repercussions of the past. The documentary teaches us to use indexical relationships to establish our own personal frames so that one day we may break away from the conceptualized stereotypes we have been conditioned to accept, resulting in perceptions through which we can humanize all cultures and form opinions based solely on personal experience.

Musical Influences on Cultural Discourses

            At the age of seven, a child’s mind is a malleable collection of ideas and observations, which can be easily molded by the mass media, and the opinions of elders and role models. When the United States experienced the terrorist attack on September 11, 2001, I was only seven, and it was at this age that I became exposed to the concept of terrorism. Those who I trusted and looked up to presented the discourse of a terrorist, and ever since, I will admit that I have a preexisting stereotype in my mind of what a terrorist looks and acts like. Through music and media, we are conditioned to accept the stereotype of a terrorist as being a Middle-Eastern Muslim who is motivated by a burning desire to destroy and oppress the America we love.

            The notion of the existence of a single “good guy” and a totally separate “bad guy” is a comforting thought for me during times when violence is expressed as a necessary means of self defense. With regards to the War on Terror, I feel that music especially has repeated the idea that foreign terror groups are the bad guys and America is undoubtedly the good guy in the situation. To be honest, I have not even questioned this concept, which makes me a fabulous portrayal of the result of music’s role in consolidating the so-called American discourse of terrorists and terrorism.  Certainly I was not well informed about all of the elements of terrorism, but I had always been taught to love America unconditionally.  Television and music helped to shape my perception of terrorism by focusing attention on the concept that a terrorist looks a certain way and practices a certain religion; through media a discourse formed.

Growing up with the concept that America is the land of the free, I absolutely perceived my country as the good guy after the 9/11 attack. Not only did my teachers and role models preach this idea within school, but also the music I was surrounded with repeated this same concept that America was justified in the decision to use violence to solve problems and ultimately defend the country from the threat of continued terrorism in the future. Likewise, music bolstered beliefs that the American population was entitled not only to national defense, but also to freedom. In response to the attack, Paul McCartney released the song “Freedom” which uses repetition of the idea that we have the right to freedom, and we shall “fight for the right to live in freedom.” Having already established a global presence, McCartney was able to use the lyrics in his music to reinforce the American enthusiasm to defeat the bad guys; a burning fervor began to amass as the hatred for the accepted discourse of a terrorist spread through the population of the United States.

             Indeed music has the power to introduce an idea to populations, but even furthermore, music can sustain a cultural discourse by utilizing repetition of opinions in choruses. At the time of disaster ten years ago, country music superstar Toby Keith reacted with the creation of “Courtesy of the Red, White, & Blue (The Angry American)”, which powerfully expressed the basics of American pride and patriotism. The song is filled with statements that, at the time, were meant to invigorate the population’s support of the war and the willingness to fight. Americans were united by the thought that “justice [would] be served and the battle [would] rage.” He also spurs the American willingness to continue to defend honor and sovereignty when he addresses the enemy, threatening “it’s going to be Hell when you hear Mother Freedom start ringing her bell.” The influential role of music can be seen in this example of unification through lyrics. Specifically, Keith’s success with “Courtesy of the Red, White & Blue (The Angry American)” illustrates how music in the wake of the 9/11 attack had the power to stabilize the discourse of terrorism in the minds of Americans, subsequently empowering the American population with a hunger for revenge.

            Regardless of a citizen’s position on the War on Terror, it is reasonable to conclude that every American was swayed by music in some way when considering the concept of terrorism immediately after the 9/11 attack. Through predominant musical genres such as country and rock, patriotic ideals were expressed in a way that instilled a sense of pride for the country. Along with this music, the traits that were considered stereotypical of a terrorist at the time were accepted by the population as undesirable, confrontational, and dangerous. Consequently, the effects of these rules that structure thought processes were consolidated among Americans. Personally, I feel that music has the capability to change and control the way people think; in the immediate aftermath of America’s victimization by terrorists, music took on the role of conforming the population’s interpretation of terroristic qualities, ultimately composing a discourse which still perpetuates in the world today.