Listen for Life Artists Promo 2012
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Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production
Music in Conflict: Palestine, Israel, and the Politics of Aesthetic Production Nili Belkind Submitted in partial fulfillment of the Requirements for the degree Of Doctor of Philosophy In the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Nili Belkind All Rights Reserved ABSTRACT Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production Nili Belkind This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel’s Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. -
Tel Aviv-Yafo: Old-New Metropolis
Tel Aviv-Yafo: Old-New Metropolis The Embassy of the Czech Republic, cultural representatives of the European Union, the Department of Interior - Building and Environment Design, Shenkar College of Engineering and Design, and the Israel Association of United Architects are honored to host you at a Cultural and Architectural Symposium entitled Tel Aviv-Yafo: Old-New Metropolis June 9, 2009 Eretz Israel Museum, Tel Aviv-Yafo The symposium is being held in homage to the centennial celebration of the city of Tel Aviv-Yafo, and offers an opportunity to rethink the meaning of the foundational concept of “Alt-Neu” (Old-New). An array of European architects in concert with theoreticians and artists from Israel together will raise and discuss important questions concerning memory, materiality, technology and culture in the contemporary urban environment. 1 The Premise of the Symposium With great enthusiasm, the symposium embraces the multi-layered complexity particular to Tel Aviv-Yafo aiming to inspire a new dialogue by convening a select yet diverse group of international and local architects, intellectuals, and artists whose individual expertise will serve as the foundations for reexamining the cultural-spatial dynamics of this city with an eye toward the next 100 years. Tel Aviv-Yafo, as home to multiple and distinct communities representing a wide array of ethnic, religious, social, and political backgrounds, is a unique metropolis. Typically, the modern metropolis has been the vortex of both progressive and reactionary forces responding to the varied developments faced by modern societies. One central theme of urban transformation in the modern era is the putative democratization of the city and the dissolution of traditional patterns of social, economic, and cultural segregation that went hand in hand with the modernization and improvement of sanitary conditions in densely populated urban cores of large European cities. -
Retour À Jérusalem Prières Pour La P
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Vendredi 11, samedi 12 et dimanche 13 avril Prières pour la paix | Retour à Jérusalem Vendredi 11, samedi 12 et dimanche 13 avril 12 et 11, samedi Vendredi | Dans le cadre du cycle Jérusalem : les trois religions Du mardi 8 au dimanche 13 avril 2008 Retour à Jérusalem à Jérusalem Retour | Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr Prières pour la paix pour la paix Prières Cycle Jérusalem les trois religions Du retour à Jérusalem des musiciens juifs du monde islamique MaRDI 8 avRIL – 20h à la musique soufie d’Israël Jérusalem, la ville des deux paix Avec la collaboration artistique de Yair Dalal La Capella Reial de Catalunya Ce cycle rend hommage à ces artistes juifs détenteurs des traditions Les Trompettes de Jéricho d’Irak, d’Iran, du Maroc, d’Azerbaïdjan et d’Ouzbékistan, et au rôle Hespèrion XXI primordial qu’ils eurent dans la préservation du patrimoine culturel Jordi Savall, rebab, vielle, lyre d’archet et de l’Orient islamique. Après avoir parallèlement chanté la gloire de direction Jérusalem à la synagogue ou dans les cafés des pays où ils vivaient, Montserrat Figueras, chant, cithare beaucoup de musiciens, pour des raisons historiques et politiques, Begoña Olavide, chant, psaltérion ont rejoint la Terre promise. Manuel Forcano, récitant Musiciens d’Orient Aujourd’hui, ces musiciens perpétuent des traditions héritées de la diaspora ; certaines sont transmises à une nouvelle génération née en terre juive, laquelle s’approprie cet héritage avec la même ferveur MeRcReDI 9 avRIL – 20h et la même passion que ses aînés, gardiens de ce savoir musical. -
From the Conference Director, Malcolm Miller
Welcome from the Conference Director, Malcolm Miller It gives me great pleasure to welcome you to the conference ‗Art Musics of Israel: Identities, Ideologies, Influences‘, an exciting initiative presented by the JMI and IMR in association with SOAS. I hope you will enjoy the richly varied programme of academic and musical presentations in an action-packed four-day event! The first ever UK-based international conference on this topic is timely, following a string of major JMI Jewish music conferences that have made an impact on the discipline. The first three, at City University (1993, 1997) and SOAS (2000), were the first of their kind in the UK, organised by Dr Alexander Knapp, the first Joe Loss JMI Fellow and Lecturer in Jewish Music. Three further events were organised by the JMI Forum for Suppressed Music (now the ICSM) on the themes of ‗Entartete Musik‘ (2000), ‗Continental Britons‘ (2002) and ‗Music, Exile and Oppression‘ (2008), the last of these organised in conjunction with the IMR. The tradition of creative interplay between scholarship and performance in those events continues in the current conference, building on the achievements of the Forum for Israeli Music‘s ‗Musical Dialogue‘ days at the South Bank (2004, 2008) featuring premieres of Israeli music, and inspiring performances by Arabic and Jewish Israeli artists. Similarly, our conference highlights the pluralism of confluent traditions and cross-cultural dialogue whilst interrogating the regional and international contexts of music in Israel through a scholarly microscope. My thanks are due to all those involved in the remarkable co-production which this conference represents. -
Voices of Peace and the Legacy of Reconciliation: Popular Music, Nationalism, and the Quest for Peace in the Middle East1
Popular Music (2002) Volume 21/1. Copyright 2002 Cambridge University Press, pp. 41–61. DOI:10.1017/S0261143002002039 Printed in the United Kingdom Voices of peace and the legacy of reconciliation: popular music, nationalism, and the quest for peace in the Middle East1 NASSER AL-TAEE Abstract This article explores political, cultural and musical issues surrounding the dispute between Palestini- ans and Israelis, particularly over Jerusalem, which each party uses to symbolise and promote their own perception of the conflict. Specifically, I examine selected popular musical landmarks that capture the essence of the struggle from the ultra-nationalistic tones of the 1960s and 1970s to the more reconciliatory ones in the 1990s advocating peace. Special attention is given to musical cooperation between Israeli and Palestinian singers who played a strong role in the promotion of peace within a utopian dream of coexistence between Arabs and Jews. If I forget thee, O Jerusalem, Let my right hand whither. Let my tongue cleave to the roof of my mouth, If I do not remember thee, If I do not set Jerusalem Above my highest joys. (Psalm 137, The Holy Bible) O Jerusalem, the choice of Allah of all his lands! In it are the chosen of His servants. From it the earth was stretched forth and from it shall it be rolled up like a scroll. The dew which descends upon Jerusalem is a remedy from every sickness because it is from the gardens of Paradise. (From the Hadith by Prophet Muhammad)2 Introduction The Middle Eastern crisis between Arabs and Jews is usually discussed from a purely political standpoint.