Muzyka w polityce. Piosenki pro i kontra
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Date
2013
Authors
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Publisher
Wydawnictwo UMCS
Abstract
Polscy muzycy w swych dziełach od lat poruszali tematy dotyczące sfery politycznej. Rzeczywistość PRL nie pozwalała na jawną krytykę działań rządzących. Artyści odczuwali to poprzez naciski na zmianę fragmentów tekstów, wstrzymywanie koncertów czy groźbę odmowy wydania paszportów. Mimo to jednak w wielu utworach autorom udało się „przemycić” opis własnego stosunku do rzeczywistości. Z powodu ingerencji cenzury w zawoalowany sposób przedstawiali swój stosunek do reżimu komunistycznego. Rok 1989 nie był w tym przypadku rokiem przełomowym, w III RP także tworzono piosenki krytyczne wobec władzy. Przekonać się o tym mieli prezydenci: Wałęsa, Kwaśniewski i Kaczyński, a także politycy niższego szczebla. Bohaterami utworów krytycznych bywali nie tylko poszczególni politycy, ale także całe partie, a nawet wyborcy, zwłaszcza ci identyfikujący się z opcją prawicową.
W III RP pojawiło się nowe zjawisko tworzenia utworów na zamówienie, tzw. piosenek wyborczych. Piosenki te łączy lekka muzyka i proste, zrozumiałe dla każdego słowa. Wśród gatunków muzycznych dominują disco-polo i pop, w przeciwieństwie do utworów rockowych, które w okresie PRL, choć w zawoalowany sposób, poruszały tematy dotyczące sceny politycznej. Proste, często przesadnie gloryfikujące kandydatów teksty, stały się cechą charakterystyczną piosenek wyborczych.
O ile jednak w przypadku piosenek wyborczych możemy mówić o tendencji wzrostowej, jeśli chodzi o ich liczbę, o tyle w przypadku utworów krytycznych wobec rządzących, zauważalny jest jej spadek. Przyczyną jest stosowany coraz częściej medialny bojkot utworów, które w ostry sposób krytykują polityków. Czy spowoduje to, że piosenki krytyczne wobec władzy ponownie będą funkcjonować jedynie w drugim obiegu? Czas pokaże.
Polish musicians have raised the problems concerning the political sphere in their works of art for years. However, the political reality of the People’s Republic of Poland (PRL) did not allow them to openly criticise the actions of the authorities. The artists could feel this through being pressurised by the authorities to change some text fragments, through cancellations of their concerts, or threats of being denied their passports. Nevertheless, the authors managed to slip descriptions of their own attitude to the reality in a lot of their works. Because of the censor’s interference, they presented their own attitude to the communist regime in an oblique way. The year 1989 was not a turning point in this case: songs critical of the authorities were also created in the Third Republic. Presidents Wałęsa, Kwaśniewski and Kaczyński as well as lower-echelon politicians were soon to find it out. The heroes of critical pieces were not only individual politicians but also whole parties, and even voters, in particular those identifying themselves with the right-wing orientation. In the Third Republic a new phenomenon appeared: that of writing commissioned songs, so-called “election songs”. What these songs have in common is light music and simple, easy-to-understand words. Disco-polo and pop music are the dominant musical genres unlike rock pieces, which presented the issues concerning the political arena, although in an oblique way, during the period of People’s Poland. Simple texts, praising the candidates, often in exaggerated terms, have become a characteristic feature of election songs. However, while we can speak of a growing trend as far as the number of election songs is concerned, in the case of pieces critical of the ruling authorities a downward trend is noticeable. The reason for that is the media’s increasingly frequent boycott of songs which sharply criticise politicians. Will, in this case, the songs critical of the authorities to be present only in the unofficial, underground sphere? Time will show.
Polish musicians have raised the problems concerning the political sphere in their works of art for years. However, the political reality of the People’s Republic of Poland (PRL) did not allow them to openly criticise the actions of the authorities. The artists could feel this through being pressurised by the authorities to change some text fragments, through cancellations of their concerts, or threats of being denied their passports. Nevertheless, the authors managed to slip descriptions of their own attitude to the reality in a lot of their works. Because of the censor’s interference, they presented their own attitude to the communist regime in an oblique way. The year 1989 was not a turning point in this case: songs critical of the authorities were also created in the Third Republic. Presidents Wałęsa, Kwaśniewski and Kaczyński as well as lower-echelon politicians were soon to find it out. The heroes of critical pieces were not only individual politicians but also whole parties, and even voters, in particular those identifying themselves with the right-wing orientation. In the Third Republic a new phenomenon appeared: that of writing commissioned songs, so-called “election songs”. What these songs have in common is light music and simple, easy-to-understand words. Disco-polo and pop music are the dominant musical genres unlike rock pieces, which presented the issues concerning the political arena, although in an oblique way, during the period of People’s Poland. Simple texts, praising the candidates, often in exaggerated terms, have become a characteristic feature of election songs. However, while we can speak of a growing trend as far as the number of election songs is concerned, in the case of pieces critical of the ruling authorities a downward trend is noticeable. The reason for that is the media’s increasingly frequent boycott of songs which sharply criticise politicians. Will, in this case, the songs critical of the authorities to be present only in the unofficial, underground sphere? Time will show.
Description
Keywords
muzyka zaangażowana, muzyka polityczna, piosenki wyborcze, muzyka wyborcza, kampania wyborcza, political music, electoral songs, electoral campaign
Citation
Współczesne zagadnienia marketingu politycznego i public relations, red. M. Adamik-Szysiak, W. Maguś, Lublin 2013, s. 305-322
ISBN
978-83-7784-287-4