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Palestinian Music and Song

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Palestinian Music and Song Palestinian Music and Song Public Cultures of the Middle East and North Africa Paul Silverstein, Susan Slyomovics, and Ted Swedenburg, editors Palestinian Music and Song Expression and Resistance since 1900 Edited by Moslih Kanaaneh, Stig- Magnus Thorsén, Heather Bursheh, and David A. McDonald Indiana University Press Bloomington and Indianapolis This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B. Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA www.iupress.indiana.edu Telephone orders 800- 842- 6796 Fax orders 812- 855- 7931 © 2013 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, in clud ing photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of Ameri can University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. > The paper used in this publication meets the minimum requirements of the Ameri can National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Palestinian music and song : expression and resistance since 1900 / edited by Moslih Kanaaneh, Stig-Magnus Thorsén, Heather Bursheh, and David A. McDonald. pages cm — (Public cultures of the Middle East and North Africa) Includes bibliographical references and index. ISBN 978-0-253-01098-8 (cloth : alkaline paper) — ISBN 978-0-253-01106-0 (paperback : alkaline paper) — ISBN 978-0-253-01113-8 (e-book) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Palestine—20th century—History and criticism. 3. Music—Political aspects—Palestine. I. Kana'inah, Muslih, editor. II. Thorsén, Stig-Magnus, editor. III. Bursheh, Heather, 1975– editor. IV. McDonald, David A., 1976– editor. V. Series: Public cultures of the Middle East and North Africa. ML3754.5.P35 2013 780.89'9274—dc23 2013022924 1 2 3 4 5 18 17 16 15 14 13 Contents Preface vii Acknowledgments xi Note on Transliteration xiii Introduction: Do Palestinian Musicians Play Music or Politics? 1 Moslih Kanaaneh Part 1: Background 1. Palestinian Song, European Revelation, and Mission 15 Rachel Beckles Willson 2. A Musical Catastrophe: The Direct Impact of the Nakba on Palestinian Musicians and Musical Life 37 Nader Jalal and Issa Boulos interviewed by Heather Bursheh vi | Contents . 3 Negotiating the Elements: Palestinian Freedom Songs from 1967 to 1987 53 Issa Boulos Part 2: Identity . 4 Identity, Diaspora, and Resistance in Palestinian Hip- Hop 69 Randa Safieh 5. Transgressing Borders with Palestinian Hip- Hop 82 Janne Louise Andersen . 6 Performing Self: Between Tradition and Modernity in the West Bank 97 Sylvia Alajaji . 7 Realities for a Singer in Palestine 114 Reem Talhami interviewed by Heather Bursheh Part 3: Resistance . 8 Performative Politics: Folklore and Popu lar Resistance during the First Palestinian Intifada 123 David A. McDonald . 9 Hamas’s Musical Resistance Practices: Perceptions, Production, and Usage 141 Carin Berg and Michael Schulz 10. Palestinian Music: Between Artistry and Po liti cal Resistance 156 Stig- Magnus Thorsén 11. The Ghosts of Resistance: Dispatches from Palestinian Art and Music 175 Yara El- Ghadban and Kiven Strohm Contributors 201 Index 207 Preface The story behind this anthology on Palestinian music and song commenced in the fall of 2007, following a number of meetings between Stig- Magnus Thorsén, a musicologist from the University of Gothenburg in Sweden; Heather Bursheh, a music educator from Edward Said National Conservatory of Music in Ramal- lah; Ahmad Al Khatib, a Palestinian "ūd (lute) player and teacher based in Swe- den; and Moslih Kanaaneh, an anthropologist from Birzeit University. These four initiators were motivated by their close familiarity with Palestinian society and culture resulting from many years of academic engagement in the Palestinian so- ciocultural context. They shared in common the awareness of the crucial role that music and song have played in the lives of Palestinians as well as in their national- po liti cal cause. At the same time the initiators were strongly aware of, and puzzled by, the unfamiliarity (or sometimes ideologically motivated negligence) of West- ern scholars and the general pub lic with this particular component of Palestinian reality, due to the lack of scholarly work on Palestinian music and song in English or any other European language. The initiators were thus in agreement on the ur- gent need for a long- term multidisciplinary project aimed at the publication of a collection of scholarly essays in English on Palestinian music and song. This realization and determination coincided with the Swedish Research Coun- cil’s expressed interest in promoting cooperation between institutions of higher vii viii | Preface education in Sweden and Palestine. In early 2008 the initiators submitted to the Swedish Research Council a proposal for funding for a three- year scholarly project that would culminate in the publication of an English anthology on Palestinian music and song. In De cem ber 2008 the Swedish Research Council accepted our proposal and awarded the project a grant that was sufficient for arranging and -ad ministering a limited number of meetings and symposia that would ultimately lead to the production of the anthology. With all the major pieces falling into place, a project management committee was formed, a cooperation agreement be- tween the Department of Music and Drama at the University of Gothenburg and the Department of Sociology and Anthropology at Birzeit University was signed, and the project was officially launched with the title “Exploring Song and Music among Palestinians.” It took the project’s management committee a whole year to locate, contact, and recruit the participants and bring them together for exploring the potentials and possibilities. On February 19, 2010, a three- day symposium convened in Jerash, Jordan, hosting twenty prominent musicologists, anthropologists, folklorists, and musicians from around the world, ten of whom were Palestinians residing either in Palestine or elsewhere in the Palestinian diaspora. The reason behind choos- ing Jordan as the place for the symposium was to facilitate the attendance of Pal- estinian and Arab participants who were prevented or banned by the Israeli au- thorities from entering the Occupied Palestinian Territories, and at the same time to facilitate the attendance of Palestinians with Israeli citizenship (the so- called ’48 Palestinians) who are banned from traveling to any Arab country aside from Jordan and Egypt. This symposium was the first of its kind, bringing together scholars, artists, composers, and performers of Palestinian music who shared in common an academic interest in Palestinian music and song and a willingness to contribute a research- based essay to the anthology. Each participant came to the symposium prepared to present a brief proposal based on ongoing or previously unpublished research for discussion by the group. After three days of intensive and highly productive discussions, the participants left the symposium to develop and complete their in di vidual research projects. From the outset the project was designed to achieve two major goals: (1) de- veloping and publishing an edited volume of research essays on Palestinian music and song, and (2) establishing a platform for a permanent worldwide network of scholars, music composers, and performers interested in investigating vari ous as- pects of Palestinian music and song within the context of Palestinian politics, so- ciety, and culture. For this purpose, and for facilitating continuous collaborative communication between the contributors to the anthology, the project’s manage- ment committee launched a website through which contributors could read and discuss one another’s papers and exchange ideas, thoughts, comments, and advice. Through this website and other media of communication, the project’s man- agement committee was engaged in editorial work with the contributors, collec- Preface | ix tively and individually, for approximately two years. Once mature versions of the essays were submitted, the committee called for a sec ond symposium, this time in Jericho, on Janu ary 20–22, 2012, for the purpose of discussing the essays and moving forward to the submission of the final draft. In this symposium each par- ticipant was assigned to present to the group the essay of another participant along with insightful and constructive critique, and each presentation was followed by an open discussion by all participants. At the very least the committee members can say that this activity was an exemplary case of multidisciplinary teamwork, the result of which we hope readers will find expressed in the quality of the essays in this volume. The combination of scholars and performers, of musicologists and musicians, of music composers and music analysts, was indeed unique and inspir- ing. In the concluding meeting of the project’s administrative committee toward the end of this symposium, the committee decided to establish an editorial com- mittee for the anthology, comprised of project initiators Moslih Kanaaneh, Stig- Magnus Thorsén, and Heather Bursheh, with the addition of music anthropolo- gist David A. McDonald from Indiana University. This anthology
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