{"id":4463,"date":"2018-09-10T07:17:32","date_gmt":"2018-09-10T15:17:32","guid":{"rendered":"http:\/\/www.entremundos.org\/revista\/?p=4463&lang=en"},"modified":"2018-09-10T07:17:32","modified_gmt":"2018-09-10T15:17:32","slug":"music-in-the-time-of-walls","status":"publish","type":"post","link":"https:\/\/www.entremundos.org\/revista\/uncategorized\/music-in-the-time-of-walls\/","title":{"rendered":"Music in the Time of Walls"},"content":{"rendered":"

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By Luc\u00eda Mu\u00f1oz Argueta<\/p>\n

It is said that Gabriel Garc\u00eda M\u00e1rquez put the ear before reading in order to create and write. According to Hern\u00e1n D\u00edaz (2017), \u201cit is no wonder that\u00a0One Hundred Years of Solitude<\/em>\u00a0can be considered a vallenato<\/em> of 450 pages,\u00a0The Autumn of the Patriarch<\/em>\u00a0a piano concerto by B\u00e9la Bart\u00f3k and\u00a0Love in the Time of Cholera<\/em>\u00a0a bolero about star-crossed lovers.\u201d Thus, the challenge of our generation is to put the heart before walls in order to create and transform, and it is here where music has the power of freedom and solidarity.<\/p>\n

In the nineteenth century the Sufi philosopher Baghdad Abu Sulayman al-Darani (cited in Ascenio, 2011) said: \u201cMusic and song are ways of evoking what is truly in the heart of everyone; under its influence, the heart reveals all it contains within.\u201d Will the heart, then, be able to beat any politician or social relationship inspired in the notion of divide and conquer<\/em>?<\/p>\n

Walls: there are many and one need not cross borders to see them, as it suffices to look around to realize that there is a great wall that exists between poverty and wealth, between love and hate. Regarding the latter, let\u2019s take the example of social media in a Guatemalan context: comments that are xenophobic, homophobic, confrontational statements of condemnation between common people, and how I once read somewhere \u201chate has become something normal in the means of social interaction.\u201d<\/p>\n

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Music helps us to show more our good emotions<\/figcaption><\/figure>\n

In geographic terms, borders are known as boundaries, but in cyberspace boundaries do not exist. Where am I going with all of this? Simply, to show that our generation is prone to losing that which is most valuable: the heart. We read and listen to all kinds of stories, we deal with policies written without love, we work like machines unable to look up at the sky to find a minute of peace. Some live tired, others well-off, perhaps balanced, but in all scenarios, what we hear definitely has some level of control over our minds and feelings. It is here where music can protect the heart and tear down walls, and an appropriate track or piece can lead to the construction of bridges of tolerance, respect, solidarity and brotherhood.<\/p>\n

As Susana Ascencio Llamas (2011) wrote: \u201cPolitics in music is not the same as music in politics,\u201d making an extensive historical differentiation about the fact that music can either be a mechanism of control, domination and manipulation or one of liberation. In both cases, music, at the social level, develops all types of emotions, and becomes an inexhaustible source saturated with the history and culture of various peoples.<\/p>\n

Therefore, in times of politics and walls let us play positive music! Let us be positive and think that people will overcome hate, racism and discrimination, confrontation and prejudices by sensitization to sound, to non-sexist artistic lyrical poetry, but also by means of creation. And what about schools without music education in Guatemala? A people without music will have a limited heart, ideas and development. Facing this, let\u2019s make politics in music in the tune of protest.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Luc\u00eda Mu\u00f1oz Argueta It is said that Gabriel Garc\u00eda M\u00e1rquez put the ear before reading in order to create and write. According to Hern\u00e1n D\u00edaz (2017), \u201cit is no wonder that\u00a0One Hundred Years of Solitude\u00a0can be considered a vallenato of 450 pages,\u00a0The Autumn of the Patriarch\u00a0a piano concerto by B\u00e9la Bart\u00f3k and\u00a0Love in the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[449,1],"tags":[1380,1259,560,65,1304,313,107,121],"class_list":["post-4463","post","type-post","status-publish","format-standard","hentry","category-music","category-uncategorized","tag-emotions","tag-entremundos","tag-guatemala-en","tag-guatemala","tag-magazine","tag-music","tag-quetzaltenango","tag-xela"],"_links":{"self":[{"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/posts\/4463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/comments?post=4463"}],"version-history":[{"count":2,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/posts\/4463\/revisions"}],"predecessor-version":[{"id":4465,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/posts\/4463\/revisions\/4465"}],"wp:attachment":[{"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/media?parent=4463"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/categories?post=4463"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.entremundos.org\/revista\/wp-json\/wp\/v2\/tags?post=4463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}