[Commlist] cfp: Popular Music and Populism

Popular Music and Populism

Populism has been researched from a great array of disciplines in the 
humanities and social sciences over the last decades. In musicology and 
popular music studies, however, the concept has been relatively 
neglected so far. This is all the more surprising since populism and 
music have been intricately connected at least since the 
nineteenth-century populist movement in the U.S. (Patch 2016; Kazin 
2017), and popular music studies have a long tradition of research into 
music and politics (Street 2017; Garratt 2019), subcultures and 
counter-cultural movements that challenge the hegemonic ‘power bloc’ 
(Clarke et. al. 1975; Hebdige 1979; Eyerman and Jamison 1995). This 
special issue, therefore, seeks to explore the nexus between popular 
music and populism.

Research on populism is complicated by the concept’s ambivalence. 
Populism has been defined as a democratic movement (Goodwyn 1976), an 
emancipatory resource (Laclau 2005), a political strategy (Weyland 
2017), an economic policy (Dornbusch and Edwards 1992), a communication 
style (Block and Negrine 2017), or an ideology (Mudde and Kaltwasser 
2017). Due to its wide scope, populism has been subdivided into various 
classifications, including inclusionary, exclusionary, right-wing, 
left-wing, nineteenth-century, contemporary, US, South-American, and 
European varieties. However, although populist movements assume highly 
diverse shapes across the world, they share a common ideological core 
based on a dichotomous understanding of a basic conflict between the two 
antagonistic camps of the essentially ‘good’ people and an inherently 
corrupt elite. As Michael Kazin (2017) has noted, populism’s power lies 
precisely in its adaptability.

As a result of the term’s polyvalence, a large number of musicians and 
musical cultures have been labelled populist. In the U.S., examples 
range from ideologically diverse phenomena such as 1880s farmers’ songs, 
Woody Guthrie, and Aaron Copland’s ‘Billy the Kid’ to Kid Rock’s ‘Born 
Free’ and the Trump-glorifying genre ‘Fashwave’. Elsewhere, examples of 
musicians who have been described as populist include celebrity singers 
such as Morrissey (UK), Fabrizio de André (Italy), Andreas Gabalier and 
Hannah (Austria); iconic rappers like Krúbi (Hungary), Piotr 
Liroy-Marzec (Poland) and Ricardo Alves (Brazil); as well as neo-folk 
and rock bands such as Böhse Onkelz (Germany), Les Brigandes (France) 
and frei.wild (Italy). A critical understanding of populism would help 
us to disentangle these diverse musical practices while revealing 
heretofore overlooked similarities.

In addition to investigating the populism of music and musical actors, 
another way to approach the interconnection between popular music and 
populism is to explore how populist politicians have employed music. 
Some of the political forerunners of the recent rise of populism in 
Europe, such as Silvio Berlusconi (Italy) and Jörg Haider (Austria), 
performed as singers of popular songs. Likewise, the front-runner of the 
far-right populist Sweden Democrats, Jimmie Åkesson, plays in a pop band 
that performs light-hearted tunes with nationalist content, and his 
party organizes an annual summer festival. In Germany, the far-right 
populist Alternative for Germany plays German-language R&B tracks by 
celebrity singers such as Xavier Naidoo to support their marches against 
what they call the ‘islamisation of the Occident’.

Conversely, popular music has by no means been employed exclusively by 
the populist far-right. The Chavéz government, for instance, tapped into 
Alí Primea’s musical legacy for its political purposes in Venezuela in 
the 1990s (Marsh 2016), and the 2013 Gezi Park protests in Turkey used 
popular music in the populist strategy to authenticate the 
demonstrations as an anti-establishment movement of ‘the people’ (Way 
2016). In Italy, the founder of the initially left-leaning Five Star 
Movement, Beppe Grillo, organized ‘Five Star Woodstock’ events years 
before his party formed a coalition with the far-right Lega.

This special issue, therefore, seeks to bring together different 
understandings of populism and foster a dialogue regarding the roles of 
popular music in the development of populist movements from a 
transnational perspective. We invite submissions for this special issue 
of /Popular Music/ that investigate the interconnection of populism and 
popular music in different historical and geographical contexts.

How exactly does popular music interact with and negotiate populist 
ideologies? How do musical sounds, lyrics, performances, and visuals 
articulate populist politics? And how can investigations of popular 
music contribute to developing a better understanding of populism as a 
cultural phenomenon?

We are looking for a range of international and interdisciplinary 
contributions from different perspectives, including popular music 
studies, ethnomusicology, and cultural sociology. Questions to be raised 
and explored in this issue may include:

- The epistemology of musical populism
- The interaction of popular music with different varieties of populism
- The role of popular music in the dissemination of populism
- The appropriation of popular music by populist parties and political 
actors
- Musicians and performers as voice of ‘the people’
- Performing varieties of the ‘good’ people and the ‘corrupt elite#
- The role of antagonisms and enmity in populism and popular music
- Similarities and differences between populist strategies and music 
marketing practices (e.g. breaking taboos, scandalizing)
- Populism and celebrity music culture
- Music and identity in populist movements regarding intersections of 
gender, class, race, nation, and sexuality
- The conceptual gendering and racialization of (musical) populism, 
including notions of (toxic) masculinity and whiteness
- Populist aesthetics and performance practices
- Fan cultures and populism / populist fan cultures


Please send abstracts (500 words max, including references), bios (150 
words max), and queries to special issue editors:

Prof. Dr. Mario Dunkel (Carl von Ossietzky University Oldenburg, 
Germany, (mario.dunkel /at/ uol.de) <mailto:(mario.dunkel /at/ uol.de)>)

Dr. Melanie Schiller (University of Groningen, The Netherlands, 
(m.m.schiller /at/ rug.nl) <mailto:(m.m.schiller /at/ rug.nl)>).

Abstracts must include a main argument, an indicative title, a critical 
engagement with relevant literature, an indication of significance, and 
references.

Deadline for abstracts and short bios: 15 November 2020

Commissioning of articles: January 2021

Submission of full articles (1st submission): 30 June 2021

Publication of the issue scheduled for autumn 2022 (41:4).


References

Block, E., and Negrine, R. 2017. ‘The Populist Communication Style: 
Toward a Critical Framework’, /International Journal of Communication/, 
11, pp. 178-197

Clarke, J., Hall S., Jefferson, T., and Roberts, B. 1975. ‘Subcultures, 
cultures, and class: a theoretical overview’, in /Resistance through 
Rituals: Youth Subcultures in Post-War Britain/, ed. S. Hall and T. 
Jefferson (London, Routledge), pp. 9-34

Dornbusch, R., and Edwards, S. 1992. /The Macroeconomics of Populism in 
America/ (Chicago, IL, University of Chicago Press)

Eyerman, R., and Jamison, A. 1995. ‘Social movements and cultural 
transformation: Popular music in the 1960s’, /Media, Culture & Society/, 
17, pp. 449–468

Garratt, J. 2019. /Music and Politics: A Critical 
Introduction/ (Cambridge, Cambridge University Press)

Goodwyn, L. 1976. /Democratic Promise: The Populist Moment in 
America/ (Oxford, Oxford University Press)

Hebdige, D. 1979. /Subculture: The Meaning of Style/ (London, Routledge)

Kazin, M. 2017. /The Populist Persuasion: An American History/ (Ithaca, 
NY, Cornell University Press)

Laclau, E. 2005. /On Populist Reason/ (London, Verso)

Marsh, H. 2016. /Hugo Chávez, Alí Primera and Venezuela: The Politics of 
Music in Latin //America/ (London, Palgrave Macmillan)

Mudde, C., and Kaltwasser, C. R. 2017. /Populism: A Very Short 
Introduction/ (Oxford, Oxford University Press)

Patch, J. 2016. ‘Notes on deconstructing the populism: Music on the 
campaign trail, 2012 and 2016’, /American Music/, 34, pp. 365-401.

Street, J. 2017. /Music & Politics/ (Cambridge, Polity)

Way, L. C. S. 2016. ‘Protest music, populism, politics and 
authenticity’, /Journal of Language and Politics/, 15, pp. 422-445

Weyland, K. 2017. ‘Populism: a political-strategic approach’, in/The 
Oxford Handbook of Populism/, ed. C. R. Kaltwasser et al. (New York, 
Oxford University Press), pp. 48-72.


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