By Marc Ribot
On tour in Europe during the first twelve days of the recent invasion of Iraq, I witnessed something close to bereavement among audience members at the apparent consent of most Americans to Bush's agenda of war and empire.
It was exhausting, in addition with all the other pressures of performance, to deal with expectations to represent "America" in this situation. Although it felt strange to speak about the war during performances - I'm a guitarist, not a lecturer - it felt even stranger not to. The one thing about which I felt certain was that the incredible level of anger and opposition I witnessed was no longer simply about one lousy political decision, but had become a critique of the legitimacy of the power of empire, and it wasn't going to stop when the war ended.
Indeed, it hasn't. It remains nearly impossible to get on stage without addressing (or failing to address) the context within which, whether we like it or not, our music is now heard.
This database project described below was conceived as a means through which artists and musicians will be able to say what needs to be said politically in the formats where it will do the most good, to help to change a political context which, simply put, has become intolerable.
We're inviting touring artists to participate in a pilot project version to be launched around February 1, 2004. Anyone can back out at any time, but expressions of interest/commitment (along with brief bios if possible) are needed to apply for grants to build the database.
Best regards, Marc Ribot Musicians Solidarity Database [correspondence may be sent to email@example.com]
WHAT: The Musicians Solidarity Database will connect internationally touring recording artists/musicians with anti-war and global justice organizations local to their touring dates.
The Database is an initiative of the Musicians Solidarity Network (MSN). Although open and useful to all artists regardless of origin or tour destination, the actual possibilities will probably reflect the current touring routes. The intent is for participating artists to be able to integrate whatever degree of activity on behalf peace/democracy/social justice organizations they feel able to commit to into their regular tour itineraries with a minimum of effort, and for the organizations to benefit from cultural support.
HOW: Touring artists enter their upcoming tour schedules, tech needs, and other necessary info and preferences into the database. Major peace/ democracy/social justice organizations access the info and cross-reference the dates of their planned events with touring artists' availability. The organizations then send the musicians/artists a set of proposals (for example: to speak or perform at a demonstration). The artist accepts whichever proposals they choose, and forward their acceptance along with whatever time or tech specs apply back to the organizations. The organizations confirm the date.
Even if tour schedules are too tight to allow for an artist's participation in outside events, artists can arrange, through the data bank, to make merchandise/ literature table space available to organizations they support.
Great care will be taken to make the data-base user friendly to both artists and organizations.
WHY?: An enormous divide has opened in political understanding between the US and most of the rest of the world, particularly in Europe. Most touring artists and musicians are already well aware of this.
But artists who speak out against Bush's agenda of war and empire, particularly in the US, run the risk of alienating fans or even being subjected to radio and other forms of blacklisting.
In Europe, things are different, at least for the time Being. Manu Chao's "Clandestino" was a hit because of, not in spite of, his close identification with the social forum movement. Whether this will always be true is difficult to say: the same forces that created Bush are also pushing Europe steadily rightward. But it's true now.
The database is a way to turn this political differential into a force for progressive change in the US, enable artists who want to be active to do so, provide organizations against war and for global justice with a constant stream of performing artist support, and build a global network of artists and activists.
It will help artists to limit the economic risks of activism by connecting them with activists and audiences who share their views.
For example, contact with non-US activists and anti-war audiences will enable US musical/cultural figures (and global cultural figures who wish to sell in the US market) to speak out. It's no accident the Dixie Chicks spoke out against the war while in Europe.
As more artists risk opinions outside the US mainstream, it will change the political math that has discouraged dissent by encouraging fans to question their mass-media enforced opinions. And contact between US audiences and European/international artists willing to speak out will help break the US media censorship of the depth of world opposition to war and empire.
Of course, the issues affecting us all aren't confined to the US: the same political/economic forces that put Bush in power in the US are alive and well in Europe and elsewhere. The problems are global and gestures of solidarity from touring musicians are needed to keep the spirit of opposition global as well.
A secondary benefit of the database involves musicians and artists rights issues. There are some issues of interest from anti-war, cultural, and labor perspectives. For example, the role of the Clear Channel monopoly in censoring opposition to the war, blacklisting anti-war artists, and even organizing pro-war demonstrations in the US is both an anti-war issue, and an infringement on artists' freedom of expression.
SPECIFICATIONS Filters, both passive/automatic and active/human will ensure that participating orgs are major and respected, and that participating artists are at a sufficiently professional level to be of use to them.
- Access to the database will be strictly limited to approved organizations.
- Contact between artists and organizations will take place within a database 'mailbox' so that artists/managers run no risk of having personal/business email accounts flooded with requests.
- Whatever form of participation the artist chooses - be it a gig, a single song, or a brief statement - the database format will ensure that all necessary technical requirements and conditions are met, without extensive back and forth between artists, managers and organizations.
- Artists will have access to full information about events they are being invited to participate in and about the organizations asking them to participate.
- Artists' participation in the database will be confidential (although at this stage, we may need to list participating artists in grant applications) unless the artists themselves choose to make it public.