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Dr. Brian Mendonça presents.
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Abstract
Excesses in the world are nothing new. What distinguishes the 21st century is the versatility of protests to these excesses. This paper will try to look at three frames of reference which offer insights into changing mediums of protest in the 21st century.The first one is the response of Dyvyna - the Ukrainian
displaced women’s choir - who have been singing folk songs from Donetsk in defiance of Putin
since March this year. Ukrainian band Kalush walked away with the first place in the Eurovision song contest weeks ago with their song Stefania protesting the invasion with rap.
The second frame is how the performance of the protest
song 'Parva que Sou' by the Portuguese ‘neofado’ group Deolinda, inspired
a generation of youth protesting the austerity measures enforced in Portugal to bail out the country of its economic crisis in 2011.
Finally, the paper will dwell on protest showcased through Konkani poetry recorded on YouTube in 2018 by a Goan student from the Gawda community Ambelim, Goa who negate their past.
In this inquiry one is mediating a political ecology which places
gender at the heart of protest. It is informed by Foucault's notion of discourse and Catherine Belsy's view of cultural expressions as 'texts.'
The paper is inspired by the protest of Hatice Cengiz, Turkish fiancée of Saudi journalist Jamal Khashoggi who disappeared in the Saudi Consulate in Istanbul on 2nd October 2018.
Key words: Deolinda, Dyvyna, Fado, Gawda, Gender, Parva Que Sou, Protest, Ukraine
International Multidisciplinary Conference on ‘Contemporary Discourses: Gender, Ecology and the Literature of Protest.’ DM’s College, Assagao, Goa, 20-21 May 2022. Pix taken on 21 May 2022 at DM's College. Courtesy Ashwini Kumar and Archana Kumar.
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