ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Propaganda in AIADMK's 2021 Campaign Song: A Multimodal Discourse Analysis Neelambari G V 1, Balasubramaniam Jeyapal 2 1 Assistant
Professor, Department of Journalism, Madras Christian College, Chennai, and
Research Scholar (PT), Department of Journalism and Science Communication,
Madurai Kamaraj University, India 2 Assistant
Professor, Department of Journalism and Science Communication, Madurai Kamaraj
University, India
1. INTRODUCTION The
history of Tamil Politics reveals the use of media as a tool to propagate party
ideology and symbols has been extensively documented Karan (2017), Neelambari (2022), Pandian (1989), Robert (1973). From the early days of electoral
politics in the state, oration and visual media played a crucial role in
attracting and engaging the predominantly illiterate population Pandian (1989). Over time, political parties in
Tamil Nadu have adapted and utilized various forms of media, including public
meetings, newspapers, magazines, theatre, cinema, television, radio, album
songs, and now digital media, to effectively conduct their political campaigns.
The
extent of media usage and the strategies employed by parties can be linked to
their objectives. As parties become prominent and become indispensable, they
adopt permanent campaigning to maintain their power and authority. However,
during elections, campaigns take on a different nature, with swift and
impactful messages that encapsulate the party’s ideology and aim to sway public
opinion. In this
vein, this paper takes a keen focus on the campaign song released during 2021
Tamil Nadu State election. The objective of the research includes, identifying
the type of propaganda techniques employed by the party in the song,
interpreting the grammar of visual elements to understand the idea displayed
through the visuals, and its relevance to the campaign objectives of the party. 2. AIADMK The
All-India Anna Dravida Munnetra Kazhagam
(AIADMK) is one of the prominent political parties in Tamil Nadu. This party
emerged as a fraction from the Dravida Munnetra Kazhagam (DMK). AIADMK was founded in 1972 by M.G.
Ramachandran (hereafter M.G.R), a former actor and propaganda star of DMK,
after his expulsion from the party. Initially, the party was named Anna Dravida
Munnetra Kazhagam. However,
under pressure from the Indian National Congress to restrict regional parties,
M.G.R renamed his party to the present All India Anna Dravida Munnetra Kazhagam (AIADMK). The
party follows the ideology of Annaism[1], as defined by MGR. Songs
with catchy beats and impactful lyrics have a profound subconscious influence
on audiences. In Tamil Nadu’s political discourse, songs from movies and
independent albums have played a significant role. Popular musicians and party
leaders have collaborated to compose propaganda songs for parties, which are
played across the state to attract voters. Initially,
songs were written for movies where the protaganist
characters represented the party’s symbol. Examples include M.G. Ramachandran’s
‘Naan aanaiyittal’ for DMK, his ‘Neenga
nalla for AIADMK, Shivaji Ganesan’s Congress-endorsed ‘Indhiya Naadu yenn veedu’ in the film Bharatha
Vilas, and ‘Kanchiyilae oru
Buddhan Piranthan’ about
C.N. Annadurai. Lyricists like Pattukottai Kalyana
Sundaram, Kalaingar Karunanidhi, Kannadasan, and Pulamaipithen propagated party ideology and leader through
their songs. Subsequently,
an evolution in political musical expression unfolded, characterized by
independent songs accentuating party symbols, strength, and leaders. Singers
like Nagore E.M Hanifa, Thangappa, SC Krishna, and CS
Jayaraman voice were heard across the state. Tracks like ‘Udanpirape,’
‘Namadhu DMK,’ ‘Namadhu
Udhayasuriyan,’ ‘Annavin Thalaimaiyile’,
‘Thennagathin Thiruvilakkam’,
‘Aringnar Anna Aatchi Kaanuveer’, ‘Anna Enbathu Oruvaraithaan’, ‘Ketpadhai Marandhuvidu’, ‘Azhaikkindrar
Anna’, ‘Vazhga Dravida Naadu’, ‘Annai Mozhi’, and ‘Kallakudi konda Karunanidhi’ were
crafted, focusing on leaders and their efforts. These songs were considered
more than just propaganda by the people. This
musical evolution coincided with the involvement of political marketing
consultants and the digitalization of political campaigns, prompting the
creation of bespoke songs tailored for specific elections and candidates,
strategically targeting the millennial demographic. Despite their influence,
the 2021 election saw a proliferation of campaign songs released by numerous
parties as campaigns shifted to digital platforms. In
constituencies where religious and caste affiliations played a pivotal role,
candidate promotional songs seamlessly intertwined with dominant religious or
caste-based film music, strategically designed to resonate with the sentiments
of diverse voter demographics. Presently, campaign songs are ceremoniously
unveiled during public party conferences and subsequently disseminated through
YouTube and other digital platforms, thereby achieving unprecedented reach. Jacques
Ellul’s assertion that modern propaganda seeks not only to modify ideas but
also to instigate action and nurture active and mythical beliefs resonates in
the realm of campaign songs Ellul (1973). These melodic compositions, with
their potent fusion of music and lyrics, possess the capacity to etch indelible
imprints in the memories of individuals, subtly shaping their perceptions and
influencing their electoral choices. The
songs of 2021 election are testament to the potency of this medium. Examples
include “Stalin than Vararu” by the DMK, “Thodarattum Vetrinadai Endrendrum Eratailai” by the
AIADMK, “Nalai Namathe” by MAIAM, “Avadiyin Mannan Ivanao” for ADMK
contestant K. Pandiarajan, and “Smartana Kovai Getthu” for ADMK contestant
S.P Velumani. Luis
Velasco Pufleau’s contention that the nexus between
music and propaganda hinges on the intentional control of the symbolic and
emotional dimensions of musical works aligns with the strategic utilization of
campaign songs in Tamil Nadu’s political landscape Pufleau (2014).
The impact of these songs, coupled with visual elements, on voters and
their consequent influence on electoral decisions represent domains ripe for
further scholarly exploration. Despite
funding-related discrepancies leading to the exclusion of these songs from
television channels, their subsequent release under the unified banner of “Thodarattum Vetrinadai Endrendrum Eratailai” reinforces
the enduring resonance of the slogan “Vetri nadai podum thamizhagam” as a potent
propaganda tool from that era. 4. Methodology This
study analyzes the ‘manifesto song’ from the series
of 13 songs released by the AIADMK party for their 2021 Tamil Nadu state
election campaign, bearing the tagline ‘Vetri Nadai podum
thamizhagam’. Specifically, the song titled 'Thodarattum Vetrinadai Endrendrum Eratailai’[2],
spanning 3 minutes and 30 seconds, unveiled on the official AIADMK party
YouTube channel, is examined. The
Institute for Propaganda Analysis’s seven propaganda techniques serve as the
framework to understand the propagandistic elements employed in the song.
Additionally, Kress and Van Leeuwen’s visual grammar framework is utilized to
examine the visual codes present, aiding in deciphering the semiotics behind
the party’s propaganda through this song. The
analysis encompasses all 136 frames of the song, with each frame scrutinized
according to the six levels proposed in ‘Analysis of dynamic discourse’
framework. It is
crucial to note that the focus of this analysis is solely on the specified song
and its employed propaganda techniques, employing the mentioned frameworks for
a thorough and comprehensive exploration. 5. Propaganda Technique
Categories Established
in 1937, the Institute for Propaganda Analysis (IPA) initiated efforts to
counteract the impact of propaganda through educational means. The institute
delineated seven propaganda techniques, termed “Tricks of the Trade,” which
include Name-calling, Glittering Generality, Transfer, Testimonial, Plain
Folks, Card Stacking, and Bandwagon Baran & Davis (2015), Dimitrov et al. (2021), Lee (1986). Table 1
In the literature review by Dimitrov et al. (2021) on detecting propaganda
techniques in memes, it is mentioned that several authors have proposed
different inventories of propaganda techniques. Miller proposed seven, Weston
proposed 24, while Da San Martino suggested 18 in 2019. Shah proposed only one technique
back in 2005, and in 2014, Abd Kadir and Sauffiyan
suggested seven techniques. Thus, as time goes on, more devices are identified
and studied but these seven remain the basics of propaganda techniques. Multimodality
is a concept rooted in the idea that each form of communication involves
various semiotic elements that contribute to the construction, representation,
and interpretation of meaning. It emphasizes the examination of how these modes
both share commonalities and exhibit distinctions in shaping the overall
meaning of discourse. E.g.: Speech = Words + Intonation + facial
expression 6.2. Visual Grammar When
delving into the concept of multimodality within Systemic Functional Language,
Halliday delineated the meta functions of language, namely Ideation,
Interpersonal, and Textual, with a significant emphasis on textual aspects Bakuuro (2017). Conversely, in the realm of
visual language, Kress & Leeuwen (2006) outlined the meta functions for
visuals as (i) Representation, (ii) Interaction, and
(iii) Composition. According
to Kress and Leeuwen, 1)
Representation The
text and visuals should employ semiotic modes to effectively depict and convey
the various facets of the world as humans perceive and experience it. The
diagram illustrates the methods through which the representation function can
be examined within any visual elements. Figure 1
The
Interactive function present in the video is analyzed
by studying the contact, social distance, and attitude. ·
Contact: The figure explains the ways contact can be
analysed in any visuals. Figure 2
·
Social Distance: The intimate/ personal, social,
and personal space in the image is the social distance and this can be analyzed through the shots used in the frame. ·
Attitude: It can be subjective or objective. Analyzing the Involvement, Detachment, Viewer power,
Equality, and Represented participant power are the ways to understand the
subjective attitude which can be studied through the presence of angles. 3)
Composition In general, the compositional
meaning is achieved through the interrelated systems of information value,
salience, and framing. But for the
dynamic visuals such as songs, Yao & Zhuo (2018) states that it is not possible to
apply. 7. Analysis of Propaganda
Techniques in AIADMK's 2021 Campaign Song The
critical examination of the frames in the campaign song of the All-India Anna
Dravida Munnetra Kazhagam
(AIADMK) for the 2021 state elections identified several propaganda techniques.
Notably, the absence of the name-calling technique suggests a deliberate shift
towards a positive campaign approach. One of
the prominent techniques employed is the use of glittering generalities. The
tagline "Thodarattum Vetrinadai,
Yendrendrum Irataiillai"
(Continue marching forward with Two leaves forever) serves as a catchy phrase,
evoking a sense of triumph and progress without providing specific details.
This vague yet appealing slogan aims to attract listeners and garner support. The
plain folks technique is utilized to foster a sense of
relatability and generosity. All the characters depicted in the visuals are
portrayed as ordinary individuals, allowing the audience to perceive the party
as being in touch with the common people. Card stacking technique is evident in
the selective portrayal of the party's achievements and policies. The song
solely highlights the best initiatives and accomplishments during the AIADMK's
tenure, conveniently omitting any potential shortcomings or controversial
issues. This one-sided representation aims to shape a positive perception of
the party's governance. The
visuals are carefully curated to emphasize the purported happiness and
contentment of people across the state and from various social classes under
the AIADMK government. This narrative is designed to create a bandwagon effect,
encouraging viewers to align themselves with the perceived popular support for
the party. Thus, the AIADMK campaign song employs a combination of propaganda
techniques, including glittering generalities, plain folks appeal, card
stacking, and the bandwagon effect. These techniques are strategically employed
to propagate a positive image of the party, emphasize its perceived
achievements, and foster a sense of unity and progress among the electorate. Visual
Grammar Analysis: ·
Narrative ‘Different
kinds of the narrative process can be distinguished based on the kinds of
vector and the number and kind of participants involved’ Kress & Leeuwen (2006). The narrative process in this
video includes action and reaction processes in both transactional and
non-transactional ways. Table 2
In
frames 1-12, both transactional and non-transactional action processes are
present, focusing on introducing the manifesto. The actions primarily involve
conversations between two individuals. For example, in frame 2, the man sitting
is the actor, while the man drinking tea is the goal. The vector in this case
is the conversation. Similarly, in frame 4, the woman in the orange saree acts
as the actor, pouring flour (circumstance of means) serves as the vector, and
the woman in the green saree is the goal. Halliday’s
concept of circumstances, as explained by Kress, emphasizes the presence of
secondary participants related to the main participants in narrative images.
These secondary participants are not connected through vectors but play other
roles. In frame 4, the women sitting near the actor and the goal can be
identified as circumstances. Table 3
Moving
on to frames 13-16, both transactional and non-transactional reaction processes
are observed. In frame 13, the eye line starts with the people standing in
line, who act as reactors, while the phenomenon is the conversation between the
two women at the front. Frame 14 also exhibits a transactional reaction
process, where the pregnant woman acts as the reactor, and the mother cooling
the milk is the phenomenon. Frames 15 and 16, on the other hand, demonstrate
non-transactional reaction processes, with the reactor’s eye line directed towards
something outside the frame. Frames
6 and 11 display the conversion process, as described by Kress and Van Leeuwen.
This process represents human interaction as a natural progression. In frame 6,
the man cleaning the tractor acts as a goal for one person and an actor for
another. There
is no indication of speech, mental processes, or geometrical processes in the
video. ·
Conceptual Classification processes: Encourage participants to relate
to each other through a form of association, resembling a taxonomy, where one
set of participants assumes the role of Subordinates in relation to at least
one other participant acting as the Superordinate Kress & Leeuwen (2006).
Table 4
The
video utilizes classificational processes to depict the hierarchy within the
party and its workers. In frame 17, the candidate is positioned at the center, while others are arranged in order of importance,
indicating a covert taxonomy. Similarly, in frame 18, the man in the center represents the owner, surrounded by his workers,
further emphasizing the hierarchical structure. Analytical
processes are present in multiple frames, particularly when mentioning the
manifestoes. The super-mentioned manifesto acts as the carrier, while the
details of associated events serve as the parts. For example, in frame 19, the
caption “Amma seervarisai” acts as the carrier, and
the visual of a wedding ceremony with an exchange of a plate filled with items
represents the parts. The agricultural support mentioned in the lyrics is also
explained through various agricultural activities and people, highlighting
unstructured analytical processes throughout the video. Symbolic
processes play a significant role in the video, with visual representations
framed with symbolic significance. Table 5
Frame 21 portrays anger through the
participant’s actions, while the consistent use of the victory symbol, the
AIADMK party symbol, symbolizes support. Frames 22 and 23 depict the intended
changes, incorporating symbolic elements. Interactional
Processes Using
the shots and angles related to social distance and attitude the frames are analyzed. ·
Contact Table 6
Frames
25-28 exhibit a demand gaze, as they are directed towards the audience, urging
them to vote for AIADMK. These frames demand action from the viewers. Table 7
On the
other hand, frames outside this range hold an ‘offer’ gaze, as they are not
directed at the audience but provide specific information. For example, the
first two frames convey happiness, while the last frame expresses the benefits
for students. These frames offer information rather than making direct demands. ·
Social Distance In
terms of social distance, the video creates intimate and personal impressions
using close-up shots. These shots capture the happiness of the people and
emphasize the demand to vote. This technique aims to establish a sense of
proximity and the idea that the party is “one among you.” Additionally, long
shots are used sparingly to establish the setting, while medium shots dominate
the conversation scenes, creating a sense of social distance. ·
Attitude Throughout
the video, the use of eye-level angles effectively communicates the feelings
and emotions of the participants directly to the audience. This technique
establishes a sense of connection and relatability, aligning with the bandwagon
and plain folk approaches of propaganda employed in the video. Moreover, the
consistent use of eye-level angles contributes to an attitude of equality,
emphasizing that the party and its message are inclusive and relatable to
everyone. In
addition, there is a specific instance where a low-angle shot is used to
capture a one-shot of women laborers demanding the
vote. This shot conveys the power and strength of women, highlighting their
importance and role in the political process. 8. Compositional Processes The
compositional function of each frame may not be discernible in a dynamic visual
analysis frame by frame. However, it is evident that the video utilizes maximum
salience and establishes maximum connections through its framing techniques.
The montages featuring both individual and group shots of people holding the
victory symbol are skillfully composed to create a
strong bandwagon effect. These visual compositions effectively convey the idea
of collective support and unity, encouraging viewers to join the movement and
be part of the winning team. In
conclusion, the examination of AIADMK's official election campaign video for
the 2021 State election has shed light on the interplay between propaganda
techniques and visual elements. The identification of propaganda techniques
reveals the use of a positive campaign approach in the campaign song, with a
glittering generality tagline, relatable characters, and selective presentation
of achievements and policies, all contributing to a bandwagon effect. The
analysis of visual grammar unveiled a nuanced combination of narrative and
conceptual representation processes. From transactional and non-transactional
action processes to classificational, analytical, and symbolic framing, the
video strategically utilized various visual elements to convey the party's
messages. Notably, the emphasis on creating a sense of 'demand' rather than
'offer' and maintaining a bond with the audience through a bandwagon approach
showcased the nuanced tactics employed in fostering a connection with the
electorate. The
careful orchestration of visual elements, such as eye-level shots to convey
emotions and maintain a sense of equality, and the deliberate use of low-angle
and high-angle shots to project power and envision the future, demonstrated a
thoughtful composition aimed at maximizing salience and connectivity. The
consistent thread of intimacy and social proximity throughout the video
underscored the 'one among you' ideology, contributing to the overall
effectiveness of the campaign. Thus,
this analysis has unveiled the intricate strategies employed in AIADMK's
campaign video, providing a comprehensive understanding of the synergy between
propaganda techniques and visual elements. As political communication continues
to evolve, a nuanced appreciation of these elements becomes crucial for both
scholars and practitioners. This study not only contributes to the academic
discourse on political communication but also serves as a valuable resource for
those seeking to navigate the complex landscape of contemporary election
campaigns. 10. Scope This
paper has provided a partial analysis of multimodal discourse in the AIADMK
election campaign video. However, there is still ample room for further
research in exploring additional propaganda techniques that may be present in
the video, especially considering the emergence of new techniques in recent
times. Furthermore, conducting a multimodal discourse analysis specifically
focusing on the lyrics would offer a new approach for interactive and
comparative analysis of the same video. This would provide a deeper understanding of how the audio and visual elements work together to convey messages and influence the viewers. By examining the lyrics in conjunction with the visual and auditory aspects of the video, researchers can uncover new insights and enhance the overall analysis of propaganda techniques employed in the song.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Bakuuro, J. (2017). Demystifying Halliday’s Metafunctions of Language. International Journal of Language and Literature, 5(2). https://doi.org/10.15640/ijll.v5n2a21 Baran, S. J., & Davis, D. K. (2015). Mass Communication Theory: Foundations, Ferment, and Future (7th Ed.). Cengage Learning. Dimitrov, D., Bin Ali, B., Shaar, S., Alam, F., Silvestri, F., Firooz, H., Nakov, P., & Da San Martino, G. (2021). Detecting Propaganda Techniques in Memes. Proceedings of the 59th Annual Meeting of the Association for Computational Linguistics and the 11th International Joint Conference on Natural Language Processing (Volume 1: Long Papers), 6603–6617. https://doi.org/10.18653/v1/2021.acl-long.516 Ellul, J. (1973). Propaganda: The Formation of Men’S Attitudes. Vintage Books. Karan, K. (2017). Cultural Political System: Popular Culture and Films in Indian Election Campaigns. In U. T. Onyebadi (Ed.), Music as a Platform for Political Communication, 221–237. IGI Global. https://doi.org/10.4018/978-1-5225-1986-7.ch012 Kress, G., & Leeuwen, Theo Van. (2006). Reading Images: The Grammar of Visual Design (3rd Ed.). Routledge. https://doi.org/10.4324/9781003099857 Lee, E. B. (1986). Coughlin and Propaganda Analysis. Humanity & Society, 10(1), 25–35. https://doi.org/10.1177/016059768601000103 Neelambari, G. V. (2022). What Does the DMK’S 2021 Election Campaign Song Focus on?: A Multimodal Discourse Analysis. ShodhKosh: Journal of Visual and Performing Arts, 3(2), 302–320. https://doi.org/10.29121/shodhkosh.v3.i2.2022.181 Pandian, M. S. S. (1989). Culture and Subaltern Consciousness: An Aspect of MGR Phenomenon. Economic and Political Weekly, 24(30), PE62–PE68. JSTOR. Pufleau, L. V. (2014). Reflections on Music and Propaganda. Contemporary Aesthetics, 12, 7. Robert, L. H. (1973). Politics and the Film in Tamilnadu: The Stars and the DMK. Asian Survey, 13(3), 288–305. https://doi.org/10.2307/2643038 Yao, Y., & Zhuo, Y. (2018). A Multimodal Discourse Analysis of the Promotional Video of Hangzhou. English Language Teaching, 11(10), 121. https://doi.org/10.5539/elt.v11n10p121
[1] Annaism is an
ideology derived from the views of C.N. Annadurai, a former chief minister of
Tamil Nadu and founder of DMK. As a follower of Annadurai, M.G. Ramachandran
propagated his principles as AIADMK’s guiding ideology.
This work is licensed under a: Creative Commons Attribution 4.0 International License © ShodhKosh 2024. All Rights Reserved. |