Analysis of Musical Selections at Primary School Social Events and Their Correlation with Sustainable Development Goals (SDGs)

This report examines a curated list of popular music tracks frequently featured at primary school social functions in the early 2000s. The analysis assesses the lyrical content, cultural impact, and associated activities of each song in the context of the United Nations Sustainable Development Goals (SDGs), highlighting their potential, and often unintentional, alignment or conflict with these global objectives.

1. Cheeky Song – The Cheeky Girls

   • SDG 5: Gender Equality: The song’s lyrical focus on physical objectification raises critical questions regarding its appropriateness for young audiences and its role in shaping perceptions of gender roles and consent.
   • SDG 3: Good Health and Well-being: An analysis of the song’s message is essential for understanding its potential impact on the psychological well-being and developing social awareness of children.

2. The Ketchup Song – Las Ketchup

   • SDG 4: Quality Education: The song, performed in a mix of Spanish and English, provided informal exposure to foreign languages and global cultures, contributing to a broader, more inclusive worldview.
   • SDG 17: Partnerships for the Goals: Its international popularity demonstrates the power of cultural products to cross borders and foster a sense of shared global experience.

3. Who Let the Dogs Out – Baha Men

   • SDG 11: Sustainable Cities and Communities: The song’s call-and-response format fostered a sense of community and collective participation among students during social events.
   • SDG 16: Peace, Justice and Strong Institutions: The lyrical content, while simplistic, can be interpreted as a questioning of social order and control, a foundational concept for civic education.

4. Cha Cha Slide – DJ Casper

   • SDG 3: Good Health and Well-being: The song’s primary function is to provide clear, verbal instructions for a group dance, directly promoting physical activity and coordination, which are key components of a healthy lifestyle.
   • SDG 11: Sustainable Cities and Communities: This track is a prime example of music fostering social cohesion and inclusive participation, as the simple instructions allow individuals of all abilities to engage.

5. Barbie Girl – Aqua

   • SDG 5: Gender Equality: The song serves as a critical case study for discussions on gender stereotypes, consumerism, and the representation of women in media, making it a valuable tool for media literacy education.
   • SDG 12: Responsible Consumption and Production: The track is inextricably linked to a major consumer brand, prompting analysis of marketing to children and the promotion of material-centric values.

6. Fast Food Song – Fast Food Rockers

   • SDG 12: Responsible Consumption and Production: This song explicitly promotes major fast-food corporations, directly contradicting efforts to encourage sustainable and healthy consumption patterns.
   • SDG 2: Zero Hunger: While not addressing hunger directly, the song’s focus on processed, low-nutrition food highlights challenges in promoting healthy diets, a key target within this goal.

7. Music by Busted or McFly

   • SDG 8: Decent Work and Economic Growth: These bands represent the success of the creative industries, contributing to economic growth and providing employment in the cultural sector.
   • SDG 4: Quality Education: The inclusion of contemporary rock-pop music in school events acknowledges the importance of youth culture within a holistic educational environment.

8. YMCA – Village People

   • SDG 11: Sustainable Cities and Communities: The song celebrates a real-world institution (YMCA) dedicated to providing community support, housing, and safe spaces for youth.
   • SDG 10: Reduced Inequalities: The track is an important cultural anthem for the LGBTQ+ community, and its inclusion in mainstream events promotes messages of tolerance and inclusivity.

9. Reach – S Club 7

   • SDG 4: Quality Education: The song’s aspirational lyrics encourage perseverance and self-belief, aligning with the goal of fostering motivating and empowering learning environments.
   • SDG 1: No Poverty: The theme of striving for a better future can be linked to the overarching ambition of eradicating poverty and creating opportunities for all.

10. Superman – Black Lace

    • SDG 3: Good Health and Well-being: Similar to the “Cha Cha Slide,” this song is designed to elicit a specific, energetic dance routine, promoting physical fitness and active participation in a group setting.

11. 5, 6, 7, 8 & Tragedy – Steps

    • SDG 3: Good Health and Well-being: Both songs feature high-energy, choreographed dance routines that encourage cardiovascular exercise and coordination.
    • SDG 5: Gender Equality: The music video for “Tragedy,” featuring the members in wedding attire while singing about romantic despair, can be used to deconstruct and discuss traditional gender narratives and expectations.

12. Cotton Eye Joe – Rednex

    • SDG 10: Reduced Inequalities: The song’s historical roots in pre-Civil War American folk music with links to slavery make its uncritical use in educational settings problematic. It serves as a powerful example of the need to address and understand difficult historical contexts to promote equality.
    • SDG 4: Quality Education: This track underscores the responsibility of educational institutions to vet cultural materials and provide students with the critical tools to analyze content for historical and social bias.

13. Greased Lightning – Grease

    • SDG 5: Gender Equality: The song’s lyrics contain misogynistic and objectifying language, offering a clear example for discussing harmful gender stereotypes and the evolution of social norms.
    • SDG 7: Affordable and Clean Energy: The song’s celebration of a fossil-fuel-powered vehicle stands in stark contrast to the global imperative for sustainable transport and clean energy.

14. Time Warp – Rocky Horror Picture Show

    • SDG 10: Reduced Inequalities: Originating from a film that celebrates gender fluidity, non-conformity, and sexual liberation, the song is a significant cultural touchstone for promoting diversity and inclusion.
    • SDG 16: Peace, Justice and Strong Institutions: The acceptance of such a counter-cultural song in a mainstream institutional setting like a school disco signifies a move towards more open and tolerant social frameworks.

15. We Like to Party – Vengaboys

    • SDG 11: Sustainable Cities and Communities: The song’s theme of communal celebration and travel (via the “Vengabus”) promotes an ideal of social cohesion and shared positive experiences.

16. Mambo No. 5 – Lou Bega

    • SDG 5: Gender Equality: The lyrical content, which consists of a man listing women as romantic conquests, provides a clear case study for analyzing the objectification of women in popular culture.

17. Crazy Frog – Axel F

    • SDG 9: Industry, Innovation, and Infrastructure: The character and song were a phenomenon of the digital era, driven by innovation in mobile technology (ringtones) and viral marketing, illustrating the economic impact of new digital infrastructure.

18. Macarena – Los Del Rio

    • SDG 17: Partnerships for the Goals: As a global phenomenon with a universally recognized dance, the “Macarena” exemplifies how culture can create informal global partnerships and shared understanding that transcends language and borders.
    • SDG 3: Good Health and Well-being: The simple, repetitive, and low-impact dance moves make it an accessible form of physical activity for people of all ages and fitness levels.

Analysis of Sustainable Development Goals (SDGs) in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

The article, while primarily a nostalgic reflection on music from primary school discos, touches upon several social issues that connect to the Sustainable Development Goals. The author’s critical re-evaluation of the songs’ lyrics and historical context brings the following SDGs into relevance:

• SDG 4: Quality Education: The article critiques the educational environment for failing to provide context and awareness about the cultural materials presented to children.
• SDG 5: Gender Equality: Several songs are flagged for perpetuating gender stereotypes and containing questionable messages about consent and the objectification of women.
• SDG 10: Reduced Inequalities: The article explicitly points out the problematic racial history of a song, connecting to the theme of racial and cultural inequality. It also touches on themes of social inclusion related to the LGBTQ+ community.

2. What specific targets under those SDGs can be identified based on the article’s content?

Based on the specific critiques and observations made in the article, the following targets can be identified:

1. Target 4.7 (under SDG 4): “By 2030, ensure that all learners acquire the knowledge and skills needed to promote sustainable development, including, among others, through education for… human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development.”
   • Explanation: The article directly criticizes the lack of this type of education when it states, “Our teachers spent too much time on times tables, and not enough researching the songs they were blasting at us in full volume,” specifically referring to “Cotton Eye Joe” and its “links to slavery.” This highlights a missed opportunity to teach about cultural diversity and human rights.
2. Target 5.1 (under SDG 5): “End all forms of discrimination against all women and girls everywhere.”
   • Explanation: The article points to songs that perpetuate discriminatory stereotypes. “Barbie Girl” is mentioned, a song often criticized for its portrayal of women. “Mambo No. 5” is described as being about “a man being a hoe,” which frames women as a list of conquests. “Tragedy” is noted for being about “men being awful,” reflecting on gender dynamics. These examples relate to the cultural and social discrimination that Target 5.1 aims to end.
3. Target 10.2 (under SDG 10): “By 2030, empower and promote the social, economic and political inclusion of all, irrespective of age, sex, disability, race, colour, ethnicity, origin, religion or economic or other status.”
   • Explanation: The critique of “Cotton Eye Joe” as “super morally questionable, when you consider the song’s links to slavery” directly addresses the need to be sensitive to and inclusive of all races and ethnicities by not promoting culturally insensitive material. Conversely, the mention of songs like “YMCA” and “Time Warp” (from a musical about a “cross-dressing alien”) points to the inclusion of cultural products from what were once considered fringe or marginalized groups.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

The article does not mention official SDG indicators, but it implies ways to measure whether the issues it raises are being addressed:

• Implied Indicator for Target 4.7: The level of critical awareness within the education system regarding the cultural and historical context of materials used. The author’s reflection implies that progress would mean teachers are actively “researching the songs” and other materials to ensure they are appropriate and educational, moving beyond just “times tables.”
• Implied Indicator for Target 5.1: The content of media and music presented to children in institutional settings like schools. Progress could be measured by analyzing playlists at school events to see if they avoid songs with lyrics that are “a little questionable” (like in “Cheeky Song”), objectify women (like in “Mambo No. 5”), or promote harmful gender stereotypes (like in “Barbie Girl”).
• Implied Indicator for Target 10.2: The vetting of cultural materials for racially or historically insensitive content. The article uses “Cotton Eye Joe” as a specific example of a failure. An indicator of progress would be the absence of such “morally questionable” content in school-sanctioned activities, showing a commitment to racial and cultural inclusion.

4. Summary Table of SDGs, Targets, and Indicators

Source: thetab.com