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"The Equal-Rights Banner" An American anthem for women's voting rights, the lyrics were written by Reverend C. C. Harrah, sung to the tune of "The Star-Spangled Banner". The second verse mentions the evil of "License", referring to alcohol abuse by men, a central issue for women in the Temperance movement. [1] 1891 (text) c.1890s (music)
The song repertoire consisted largely of reconstructions of protest songs from the late 19th and early 20th centuries. In Łódź, "Warszawianka" was sung en masse during the celebrations marking the 110th and 111th anniversaries of the insurrection of 1905. In 2016, singing workshops for women were conducted during some Black Protest ...
One thousand women in Washington, D.C. staged a march down Connecticut Avenue behind a banner reading "We Demand Equality"; [13] in the same city, government workers organized a peaceful protest and staged a "teach-in", which educated people about the injustices done to women, mindful that it was against the law for government workers to strike.
Several songs were written in response to the Seneca Falls Convention, including "Women's Rights Convention Waltz," arranged by Julia F. Baker and "Woman's Rights, a Right Good Ballad," by Kate Horn. [9] [10] Baker's song is more supportive of a change in women's rights, while Horn's work emphasizes traditional values. [10]
The 1990s also saw a sizable movement of pro-women's rights protest songs from many musical genres as part of the Third-wave feminism movement. Ani DiFranco was at the forefront of this movement, protesting sexism, sexual abuse, homophobia, reproductive rights as well as racism, poverty, and war. Her "Lost Woman Song" (1990) concerns itself ...
1970 – August 26 Women's Strike for Equality: Held nationwide, it brought out around 20,000 female protestors in D.C., New York City elsewhere to demand equal rights for women. The march helped expand the women's movement: 1970 – October 3 March for Victory
Formed out of the male-dominated music scenes of jam music (in the case of Bonnaroo), late-’90s indie rock (Coachella), and early ’90s alternative and grunge (Lollapalooza), these festivals tend to celebrate diversity while dismissing the most popular pop acts — the ones who tend to dominate the charts and who tend so often to be female ...
One of the central grievances of the text is women's inability to self-identify; they are instead being prescribed suppressive sexist and heteronormative roles. This view of females, the authors argued, served only to keep a woman down, "poisoning her existence, keeping her alienated from herself, her own needs, and rendering her a stranger to ...