By Cathay Yenana:
As the month of June approaches, a month brimming with historical significance and cultural celebrations, it’s important to highlight the intersecting narratives that shape our understanding of freedom, legacy, and cultural identity.
The June 16 Uprising in South Africa, Juneteenth, and the global events of 1976 form a tapestry of resistance, liberation, and cultural resilience that echoes across borders and generations. To understand these poignant moments, we must consider the broader context of a world grappling with upheaval and change, including how these specific instances reflect collective struggles for dignity and freedom.
The year 1976 was a turbulent one worldwide. The Cold War intensified, and Soviet and Western influences clashed across continents. In Asia and Africa, decolonization movements gained momentum, challenging old powers and fostering new identities. The Chinese calendar flipped into the Year of the Dragon, a symbol of strength and transformation, fitting for a year marked by upheaval. The world watched as nations fought to redefine sovereignty, equality, and cultural sovereignty amidst economic crises and political repression.
1976, The Year of the Dragon, according to the Chinese zodiac, is a symbol of strength, power, and good fortune. The Dragon’s influence is associated with boldness, innovation, and leadership. In 1976, the world witnessed significant events: the death of Mao Zedong, initiating China’s period of reform and opening up, and the American Bicentennial, celebrating 200 years of independence, a year marked by transformation and renewal.
In South Africa, June 16, 1976, marked a watershed moment. Thousands of young Black students in Soweto took to the streets to protest against the apartheid regime’s policies, most notably the enforcement of Afrikaans as the medium of instruction, which was seen as a tool of cultural suppression. What began as a school boycott quickly turned into a nationwide uprising, characterized by young voices asserting their right to dignity, education, and freedom. The brutal response by police, resulting in numerous deaths, exposed the brutality of apartheid and ignited international outrage. The youth’s courage became a catalyst for internal resistance and global awareness of racial injustice.
Rewind to the United States, where Juneteenth commemorates June 19,
- The day, Union soldiers arrived in Galveston, Texas, to announce the emancipation of enslaved African Americans. Though the Emancipation Proclamation had been issued two years earlier, Juneteenth symbolized the final act of liberation in the American context—an acknowledgment of the enduring struggle for racial justice, equality, and recognition of Black history and culture. It became a sacred day of reflection, resilience, and hope, highlighting the resilience of Black communities amid systemic oppression.
In both South Africa and America, music and culture became vital expressions of resistance and identity. In Soweto, protest songs like “Asimbonanga” and the sounds of struggle songs and jazz echoed the spirit of defiance and hope. Similarly, in America, blues, jazz, gospel, and later hip-hop served as powerful tools to articulate the pain, aspirations, and resilience of Black communities.
These moments—South Africa’s uprising, Juneteenth, and the global upheavals—are interconnected threads in a collective narrative of emancipation. The youth of Soweto, singing their truths in the face of violence, mirror the jubilant and somber reflections of African Americans on Juneteenth. Both symbolize the ongoing fight against oppressive systems and the unbreakable urge to forge identities rooted in freedom, dignity, and cultural expression.
Today, as we reflect on these pivotal events, it prompts us to consider how much progress has been made—and how much work remains. The Chinese Year of the Dragon reminds us that transformation is a cyclical and perpetual process, often born from chaos. The global struggles of the 1970s continue to resonate in contemporary movements for racial justice, sovereignty, and human rights.
In essence, June 16, Juneteenth, and the broader upheavals of 1976 challenge us to recognize the power of youth and resistance as catalysts for change. This urges us to remember that liberation is an ongoing journey, one that demands courage, resilience, and a collective commitment to justice across the boundaries of race, geography, and history.
Globally, 1976 was a vibrant year for music, culture, and social change. songs reflected a time of sociopolitical upheaval and musical innovation, resistance, dynamism, and a forward-looking.
The significance of 2025 in the Chinese calendar is tied to the Chinese Zodiac cycle, which repeats every 12 years, each year associated with a specific animal. The year 1976 was the Year of the Dragon, which is considered a powerful and auspicious sign.
2025 is the Year of the Snake, which follows the Year of the Dragon in the cycle. The sequence of Zodiac animals is: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, Pig, then repeats.
1976 was the Year of the Dragon.
2025 is the Year of the Snake, occurring 49 years after 1976. The Dragon and Snake are both signs in the Chinese Zodiac, but they have different symbolic meanings and characteristics.
The Dragon (1976) symbolizes power, strength, and good fortune.
The Snake (2025) symbolizes wisdom, flexibility, and introspection.
While both are distinct signs, they are part of the same Zodiac cycle, emphasizing the continuous, cyclical nature of Chinese astrology. The 49 year gap is significant because it aligns with multiple complete cycles (since 12-year cycles mean 4 full cycles plus 1 year), highlighting renewal and transition phases in Chinese astrology.
2025 marks another year in the 12-year Zodiac cycle, following the Dragon year in 1976 by 49 years, and signifies a different set of attributes associated with the Snake. The relationship points to the ongoing progression and recurring themes within the Chinese zodiac system.
June’s rich tapestry of cultural and sociopolitical milestones, highlighted by Juneteenth, serves as a reminder of progress and ongoing struggles for equity. This leads me to a Candid conversation with Sir Chantz Powell, a singer, trumpet player and Dance extraordinaire!
Cathay Yenana:
What initially drew you to music? Let’s talk about the Sir in your name?
Sir Chantz Powell:
Music is in my DNA. My grandfather was a lead singer & guitarist with a gospel group called: The Southern Bells of New Orleans ( premiered on the radio every Sunday)
The Sir in my name was gifted to me by the People. Not the Queen. Having spent the majority of my adolescence & young adulthood in London and Paris. Being originally from New Orleans, predominantly spending formative years in Los Angeles, partially in Sacramento, CA., Jackson, MS. and New York City. As a representative of the youth and the next generation of real music, changing the world nations. Through music, culture & education. The people started calling me… not just Chantz or Chantz Powell, but Sir. Chantz Powell.
Cathay Yenana:
Do you believe that music can influence social change and foster unity among diverse communities?
Sir Chantz Powell:
Absolutely. I know that vibrations can positively and or negatively affect all matter. With a divine essence in the music’s message, we’ve seen multiple times in human history that music has been a cornerstone of revolutionary movements around the world. Even “chants” that galvanize the people are music. Melody, rhythms, call and response, are all deep components of the structure of music.
Cathay Yenana:
What is your most memorable experience while performing with Playing for Change that truly encapsulated the spirit of your mission?
Sir Chantz Powell:
I met Mark, Rann & Whitney from Playing for Change when I was twelve and was a part of the original documentary: Playing for Change. In 2017, I was asked to be a part of the Playing for Change video series “Songs Around The World” for the video “Chan Chan”. Then, an idea struck to create a horn section in the Playing for Change Band. I went on tour with PFC to Colorado, Brazil, Bahrain and Australia. To have been part of something from the beginning, seeing it develop from the basic ideas to a global movement that millions have joined in over the years, truly moved my soul to tears!
Cathay Yenana:
How do you approach collaboration when working with musicians from different cultures and backgrounds?
Sir Chantz Powell:
One thing we all have in common is likeness; we all have things that we like or love in this world. Since I was a young child, I have sought to create value through dialogue, a key component to establishing peace. So, whoever I’m collaborating with, I seek to find common ground in subjects or interests that can connect us through the process of collaborating jointly on a project. I love to learn and actively engage with genuine interest, which opens up the heart and throat Chakras, allowing for deeper connection and establishing a solid bridge to build upon. Understanding some cultural traditions of any country I’m traveling to and the people I’m working with goes a long way. Whether it be learning some phrases of their language, about their history and also about their culture. This process allows me to expand my own horizons and deepen my perspective of the world, as well as my art.
Cathay Yenana:
In your opinion, what qualities make a great musician and collaborator?
Sir Chantz Powell:
A person can be extremely talented & also have a heart of gold. Then, on the other hand, a person can be incredibly skilled and unpleasant to be around. In my opinion, the heart is the most important thing behind everything we do! Ethics and edict go a long way, whenever interacting with others in different arenas of life and art.
Cathay Yenana
How do you connect with audiences on a personal level during live performances?
Sir Chantz Powell:
I personally give my entire essence to my audience, the “Blood, Sweat and Tears”, through the years of life and my ancestors are the levels of energy that I bring to the stage. I also take time out in the show to address commonalities of the human experience, such as struggles, challenges, losses, death, life purpose, goals, and mission.
Ultimately, promoting “Never Give Up”
I also ask the crowd to join me in song, allowing that vibration to be the station we all tune in to.
Cathay Yenana
People or a person you’ve met on your travels that left a lasting impression on you?
Sir Chantz Powell:
I met several people on my journeys who have made a significant impact on my life. However, I met someone who inspired my soul to have the courage to be in love again. So much so that it elevated my awareness and consciousness within myself. Also heightened my sensory perception of energy and connection.
Cathay Yenana:
How can artists use their platforms to advocate for change?
Sir Chantz Powell:
In order to genuinely inspire change, we must be the change we want to see in the world. Music and art are and have always been a cornerstone of shaping human history. Lyrically, rhythmically, visually and spiritually, art/ music has the vibrational energy/power to uplift, engage and motivate the people. Music/Art can be used to ignite people’s fire and desire to be a part of that change by uniting. Songs like: We Are The World/ Earth Song (Michael Jackson), A Change is Gonna Come (Sam Cooke), What’s Going On (Marvin Gaye), Where is The Love (Black Eyed Peas), just to name a few from Artist here in the U.S that have made songs to unite people from all walks of life in efforts to promote togetherness.
Cathay Yenana:
In what ways do you see music intersect with activism today?
Sir Chantz Powell:
I think the latest and biggest example of activism in music today has been the impact of Kendrick Lamar. He publicly displayed a state of consciousness on the largest stage here in North America at the Halftime Show for the 2025 Super Bowl, here in New Orleans! Through music and song, lyrically, the choreography and visuals all intertwined into an all-out masterpiece that engraved and engaged the people who were there and who were watching on television, around the world. Rather, if you understood the message clearly or not. It awakened the people in collective conversations about politics, colonialism, economics and social issues.
Cathay Yenana
Has your cultural background shaped your music and artistic perspective?
Sir Chantz Powell:
I think my spiritual practice as a Nichern Daishonin Buddhist (SGI-USA) has shaped my heart. Growing up in seven different cities and three countries, shaped my perspective of the world and has continued to be polished by my travels in the world. Learning from a multitude of cultural backgrounds and traditions. My art has been shaped and moulded by life and how I seek to connect with the people within it through expressing it, in the most genuine and authentic way I can. Every time!
Cathay Yenana:
What role do you think cultural exchange plays in the evolution of music globally?
Sir Chantz Powell:
I think cultural exchange is the root of music should be universally understood and accepted. Steaming out of Africa, music that is considered “Salsa” and Cuban actually derives from the Congo. Classical is considered to be European, when in fact the first classical musicians and instruments are in Africa. Rock & Roll is accredited towards White American music and was in fact created by African Americans, long before white musicians/ artists. Cultural exchange is the true essence of unifying the HUEman race. Learning, diversity, differences, traditions, customs, etc, leads to a more well-rounded society.
Cathay Yenana:
What motivated you to join Playing for Change?
Sir Chantz Powell:
I met Mark Johnson (CEO) of Playing for Change when I was 12 years old. The concept of connecting the world through music was already a mission that I was working towards. As my mission statement was – Changing World Nations, Through Music, Culture and Education. It was in alignment with what GeeGee – my Mother, as well as our practice as Buddhists. Which is absolute happiness, not at the expense of others’ unhappiness. Mark, Rann & Whitney, we’re also good-hearted people who sought to make a significant contribution and impact in the world through art/ visuals and music.
Cathay Yenana
What does Playing for Change mean to you personally?
Sir Chantz Powell:
Playing for Change is family. They are an extension of my life, mission and purpose. We are aligned in serving the world through art, education and togetherness!
Cathay Yenana:
What do you think the future of Playing for Change and its impact on global music and culture looks like?
Sir Chantz Powell:
I think Playing for Change will be a continuum for decades due to the joint efforts of a global community and a team of people who coincide with the mission to change the world – One Song at a Time. Through the different means of education, live music, recorded music, video series “songs around the world”, lectures, programs and a steady flow of dedication to building free lifetime music schools for children around the world.
Cathay Yenana:
Looking back on your career, what would you say has been your most significant achievement?
Sir Chantz Powell:
Most recently, I headlined the Halftime show at the Smoothie King Arena, here in New Orleans. However.., the most significant is: doing an Arena Tour in the UK with Young Voices & performing in front of audiences to the size of 40,000 people. That’s my calling.
Sir Chantz Powell’s insights and reflections on music and generational impact, I see a tapestry of intertwined histories emphasizing transformation and hope. So, as we honor these cycles, both cosmically and culturally, my wish is that we continue building bridges of understanding, peace and celebrate the enduring power of our collective commonality – @NewsSA_Online
Please like, follow and engage with us on our social media platforms, links below: