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This 5 page paper discusses the musical stylings, trend, culture of Amandla. Artists featured as well as the film discussed. Bibliographpy lists 4 sources.
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5 pages (~225 words per page)
File: D0_MBmndla.rtf
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gained solidarity through their music, their cultural heritage, and through their regional versions of amandla music. Now, of course, Amandla has moved from that of a political protest form to
an actual style, as well as moving from regional to global popularity. Amandla is a combination of classical and traditional tunes from
Africa (most notably South African) with the rhythms and cadences of the Caribbean and Jazz traditions. What has resulted, then, is the emergence of a music whose pulse still cries
for freedom and the power of the people, but now, of course, the freedom that seems lifted in the notes of this style, are not just for the freedom of
a nation or a region, but for the Earth. If this sounds a bit esoteric, that is to be expected. A great
deal of the international musicians who have embraced this new multi-cultural form tend to wax poetic and literally gush over the newly emerging form. Consider that it has been some
time since a musical form of this intensity has taken hold. Some might argue that SKA and other forms were just as hot but in essence; they did not have
the additional emotional impetus of having united a movement. This movement has not gone unnoticed by filmmakers either. Lee Hirschs movie, Amandla! A Revolution in Four Part Harmony examples
the totality of the nature of this musical style and form. One sees through the movies course how the music was developed and how very much a part of
the peoples movement it became. Amandla was the protest anthem of the anti-apartheid movement. The music has a stubbornness to it which is rooted in the determination of a people
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