III Kill'em with music: DEMO.M.U.SIC : Livro de Abstracts = Book of Abstracts / Congresso Internacional da IASPM-Portugal

Abstract

Music reflects time, but also the spaces and individuals that are inscribed in it. From the pandemic caused by COVID-19 to the wars and tensions that emerge in contemporaneity, youth cultures have been increasingly praised as being associated with specific modes of action because, allied, above all, with music, youth cultures have revealed specific forms of activism and resistance to the problems and constraints that affect them. Thus, the motto of this International Congress of the IASPM-Portugal, KILL'EM WITH MUSIC III DEMO.M.U.SIC, aims to emphasize these issues, more specifically the modes and typologies of juvenile resistance in contemporary societies, which is related to a broader objective of unveiling new social and juvenile representations about social movements, but also about cultural changes, more or less latent. In this way, we intend to look at music as an expression of power, and also as a practice of contestation of diverse social problems. Alongside this, we intend to unveil some perspectives on music as a means to unravel social reality. Indeed, with the motto KILL'EM WITH MUSIC, we intend to encourage researchers, artists and the academic community to reflect theoretically and empirically on the dichotomies of resistance versus power, global versus local, action versus inertia, radicalism versus conformism. If once we could refer that the 1970s were emblematic in the development of academic studies on the concept of resistance, currently we can enunciate the importance of aesthetics as resistance emerges, in the sense that social phenomena and events have been a touchstone in this sense, giving rise to new forms of expression and affirmation of individual and collective identities that often have music or music creation/production/consumption as their main driving force. Then, the concept of resistance was joined by others, such as social class, gender, ethnicity, Global South, sexual identities, biopolitics, among many others. Moreover, since 2010, the very connection between a(r)tivism and music has been widely studied, from intervention music, to LGBTQI+ communities, passing through migrations and the very act of creating artistic content that, in turn, is articulated with an inscription of a political-social message in a determined time-space.