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South Pacific: Paradise Rewritten (review)

South Pacific: Paradise Rewritten (review) Book Reviews 103 for themselves as redemptive insiders rather than unwanted aliens. Michael Miller Topp’s history of Italian American anarchists, Those Without A Country: The Political Culture of Italian American Syndicalists (University of Minnesota Press, 2001) reveals the unique utility of music as an organizing tactic for workers’ organizations at the start of the twentieth century. Orator Pietro Gori found that playing his guitar and singing before he spoke attracted crowds that were then willing to stick around for his political speeches. The Industrial Workers of the World discovered that mass singing in parades and demonstrations enacted on a somatic level the solidarity and strength in numbers that the organization’s ideology envisioned. A song like “The Internationale,” sung in twenty-v fi e dif - ferent languages during strikes in Lawrence and Paterson in 1911–12, worked perfectly in building a unity that acknowledged and respected differences. In Going Through the Storm: The Inu fl ence of African American Art in History (Oxford University Press, 1994), Sterling Stuckey explains that the civil rights movement’s use of familiar melodies from spirituals and gospel songs eased the transition to activism for many blacks, while at the same time building and sustaining the courage, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

South Pacific: Paradise Rewritten (review)

Laird, Paul R.
American Music , Volume 30 (1) – Oct 24, 2012
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

Book Reviews 103 for themselves as redemptive insiders rather than unwanted aliens. Michael Miller Topp’s history of Italian American anarchists, Those Without A Country: The Political Culture of Italian American Syndicalists (University of Minnesota Press, 2001) reveals the unique utility of music as an organizing tactic for workers’ organizations at the start of the twentieth century. Orator Pietro Gori found that playing his guitar and singing before he spoke attracted crowds that were then willing to stick around for his political speeches. The Industrial Workers of the World discovered that mass singing in parades and demonstrations enacted on a somatic level the solidarity and strength in numbers that the organization’s ideology envisioned. A song like “The Internationale,” sung in twenty-v fi e dif - ferent languages during strikes in Lawrence and Paterson in 1911–12, worked perfectly in building a unity that acknowledged and respected differences. In Going Through the Storm: The Inu fl ence of African American Art in History (Oxford University Press, 1994), Sterling Stuckey explains that the civil rights movement’s use of familiar melodies from spirituals and gospel songs eased the transition to activism for many blacks, while at the same time building and sustaining the courage,

Journal

American Music – University of Illinois Press

Published: Oct 24, 2012

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