Music as an adaptive catalyst for youth activism in the new world
The forthcoming induction of Mary J Blige and A Tribe Called Quest into the prestigious Rock and Roll Hall of Fame 2024 marks a seminal moment for them as an influential, legendary artist in music history. As a matter of fact, hip-hop music has been revealed to be a genre originating from the movement of African Americans in the United States.
Beyond the celebration of their individual artistic achievements, this occasion underscores a broader socio-cultural paradigm shift, notably the increasing recognition of hip-hop music as a formidable and transformative cultural phenomenon as a profound implication of the mainstream culture.
Moreover, the emergence of hip-hop as a genre is intrinsically linked to the socio-political mobilization efforts of the African American community to express their point of view towards many issues in the context of social domain. For instance, A Tribe Called Quest, through their song “We the People” (2016).
Delivers a highly explicit statement in its lyrics criticizing the oppression faced by certain minority groups in America, such as Muslims, who are forced to leave the country and are not welcome based on the false assumption of the Muslim way of life that is irrelevant for American society.
Similarly, Mary J. Blige’s evocative song “Strength of a Woman” (2017) also eloquently articulates the themes of female empowerment, emphasizing notions of gender hierarchy in favours of a more egalitarian vision through her ideas about a woman’s role.
She is emphasizing woman’s strength as equal to men in a relation to woman’s natural characteristics that underscore commentary review of gender inequality as a cultural force rather than as a competition on seeking to take over men’s roles in daily life.
It is interesting to note that Hip-Hop music while representing a genuine movement in America, the evolution of its genre offers further resonance as an unique forms in a different cultural sphere. In Indonesia, for example, Hip-Hop musicians initially expressed their aspirations using intriguing vocabulary, a stark contrast to the coarse language used by American Hip-Hop artists.
Legendary Indonesian Hip-Hop musician Iwa K, in his song “Lihatlah ke Jalan” (1994) serves a searing critique events on the streets of metropolitan cities that pose threats due to reckless vehicle usage while also capturing real-life scenes of the capital city through his analogy of the palpable realities harshness of urban existence as easy as by looking at the phenomenon on the street.
The song that mobilizes students
The role of music in activism has undergone a profound evolution, as seen through the use of anthems or hymne in Bahasa, as well as the supplemented approach of marches or mars in Bahasa, and their relation to the exponential development of digital platforms. Anthems, slow-tempo music with lyrics closely tied to words of praise, and march songs, with faster tempos and emotional lyrics, have long been associated with social movement attributes.
For instance, the song “Totalitas Perjuangan” (“Totality of Struggle”). “Totalitas Perjuangan” is deeply associated with students when they go to the streets, and its song rallies their spirits. This song is also generally sung by new students during OSPEK (a 1 to 2-day activity on campus that aims to introduce new students to college life) at the request of the committee.
In the lyrical composition, the song notably highlights “students,” alternatively depicted as “heirs of civilization” or “the pride of human history,” imbuing them with a sense of pride. Moreover, the line “For the sake of offering body and soul to our beloved country” underscores their profound dedication to national service. This sentiment resonates with the legacy of student activists from 1998 who played a pivotal role in toppling the Suharto regime.
Other songs that also ignited the enthusiasm of students were “Buruh Tani” (“Farm Laborers”) and “Darah juang” (“Fighting Blood”), depicting the challenging realities of the nation including oppression and poverty. These songs resonated widely during the massive student demonstrations in 2019, which spread across various regions such as Jakarta, Bandung and Jogja.
And from across universities, such as the University of Indonesia, Gajah Mada University, Padjadjaran University and many others. The student demonstration, which lasted more than 1 day, called for the cancellation of the revision of the corruption eradication law and the draft criminal law (RKUHP).
Music on the current trend pop activism : youth mental health & preserve the environment
However, in today’s era of new media with the advancement of technology poses the expansion of music realm in youth social movements and transcends dynamic changes. The Covid-19 pandemic has brought the phenomenon of “bedroom musicians” to the surface. The experiences of independent musicians during quarantine sparked their ideas to explore music production from their own rooms, eliminating the need for large studios.
With digital applications for recording and producing music, such as those produced by the Bandung-based startup Kuassa, music production has become highly practical without the need for complex hardware. Youth social movements through music and their adaptation to new media are also supported by social media platforms like TikTok, which have birthed many new and interesting songs.
For example, the song “Oke Gas” by Richard Jersey went viral on TikTok. It was used as a campaign medium by the presidential candidate Prabowo during the Indonesian election in 2024, further illustrating that music as a communication medium is highly effective in rallying the masses.
The phenomenon of “Anak Senja,” or “ Sunset Kids” which is currently prevalent in young people’s social media content, is often associated with music that supports the atmosphere of young people gathering in the evening towards sunset. Gathering in the evening while enjoying coffee describes the sunset kids’ scene, and the accompanying music for them called as the sunset music or musik senja.
Indonesian bands like Sore and Payung Teduh have already left an impression on this phenomenon of sunset kids. However, what is interesting is that youth social movements in Indonesia today tend to be more polite and less aggressive. Social media content which elaborates sunset kids scene often talks about their appreciation for nature and tells stories of the anxieties they experience in a more polite and even poetic manner.
The appreciation of nature by sunset kids, supported by their music, forms a new movement format of aspiration regarding young people’s concern for the environment. Another aspect reflected through the content of influencers like Irfan Ghofur expresses the poetic manifestation of nature and the interpretation of young people’s acceptance of their anxieties, often correlated with general topics like mental health awareness, now becoming calmer and even comedic.
The social implications of the “senja” phenomenon indicate that the expression of young people’s concerns about a social activism issue has become more playful and participatory because the delivery of the messages is lighter. The role of music eventually transforms into a slice of this phenomenon, allowing the movement of issues such as mental health awareness to be softly translated into music suitable for listening during sunset times.
Nadin Amizah’s song “Rayuan Perempuan Gila” with its melodious pop arrangement and poetic lyrics romanticizes the assumptions about mental health issues associated with women. Thus, young people’s understanding of an issue becomes more accessible and digestible.
Closing Remarks
Youth activism and their participation in music represent becoming more personal and relevant to them. The collective digital space in today’s social movement, forms an inclusive action formation despite its conventional nature. Still, the youth’s identities in becoming part of a movement have become more personalized.
Music as a bridge in a social movement within society ultimately offers a more adaptive conclusion for the current youth activism engine because it is supported by digital platforms that can reach broad audiences and are personalized with algorithms that follow individual tastes. Youth civil activism responding to various issues in the future will be an interesting dynamic to observe, and music’s role will always be a catalyst for their expression in a movement.