DOCSLIB.ORG

Songs of Grief, Joy, and Tragedy Among Iraqi Jews

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Songs of Grief, Joy, and Tragedy Among Iraqi Jews EXILED NOSTALGIA AND MUSICAL REMEMBRANCE: SONGS OF GRIEF, JOY, AND TRAGEDY AMONG IRAQI JEWS BY LILIANA CARRIZO DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Professor Donna A. Buchanan, Chair Professor Gabriel Solis Associate Professor Christina Bashford Professor Kenneth M. Cuno ABSTRACT This dissertation examines a practice of private song-making, one whose existence is often denied, among a small number of amateur Iraqi Jewish singers in Israel. These individuals are among those who abruptly emigrated from Iraq to Israel in the mid twentieth century, and share formative experiences of cultural displacement and trauma. Their songs are in a mixture of colloquial Iraqi dialects of Arabic, set to Arab melodic modes, and employ poetic and musical strategies of obfuscation. I examine how, within intimate, domestic spheres, Iraqi Jews continually negotiate their personal experiences of trauma, grief, joy, and cultural exile through musical and culinary practices associated with their pasts. Engaging with recent advances in trauma theory, I investigate how these individuals utilize poetic and musical strategies to harness the unstable affect associated with trauma, allowing for its bodily embrace. I argue that, through their similar synaesthetic capability, musical and culinary practices converge to allow for powerful, multi-sensorial evocations of past experiences, places, and emotions that are crucial to singers’ self-conceptions in the present day. Though these private songs are rarely practiced by younger generations of Iraqi Jews, they remain an under-the-radar means through which first- and second-generation Iraqi immigrants participate in affective processes of remembering, self-making, and survival. ii For my mother, Rivka iii ACKNOWLEDGEMENTS This project would not have been possible without the network of colleagues, friends, and family across the United States and the Middle East who have encouraged, supported, and sustained me throughout this process. I would like to begin by expressing my gratitude to the Iraqi Jews I came to know during my time in the field, many of whom have asked to remain anonymous. I will be forever grateful for the many hours of stories, laughter, food, and conversation we shared, much of which forms the core of this study. I would like to acknowledge the following institutions, whose financial support was integral to this project. The American Association of University Women (AAUW) and the Memorial Foundation for Jewish Culture provided generous support during the writing phase of my project. My fieldwork was supported by a Fulbright IIE U.S. Student Fellowship, The Gendell Family and Shiner Family Fellowship, and The American Academic Research Institute in Iraq (TAARII). My graduate career was encouraged through a three-year University of Illinois Distinguished Fellowship, multi-year Foreign Language and Area Studies (FLAS) fellowships, and numerous Evelyn Accad International Research awards. I am deeply thankful for the invaluable support provided by these institutions. I would like to thank various cultural and research centers in Israel, including the Babylonian Jewry Heritage Center, the Fulbright Commission in Israel, the National Library of Israel, the Jewish Music Resource Centre, the Bella and Harry Wexner Libraries of Sound and Song, and the Hebrew University of Jerusalem, where I spent two years as a Visiting Research Fellow. The scholars, administrators, teachers, and friends at these institutions were instrumental in helping my fieldwork endeavors, including Anat iv Lapidot-Firilla, Judy Stavsky, Gila Flam, Adis Urieta, Darnelys Mircala, Hana Marom, and Yitzhak Haim. In particular, I would like to acknowledge Edwin Seroussi, whose academic guidance greatly assisted my research in the field. I owe my deepest gratitude to my advisor, Donna A. Buchanan. Her unique combination of formidable intellect, ceaseless curiosity, and generosity of spirit is inspirational. Throughout my graduate career, she has continually challenged me to think of new connections and theoretical insights, all while providing me with tireless academic, moral, and emotional support. I am also deeply indebted to my other committee members. The exceptional instruction of Gabriel Solis has provided me with an extensive and foundational disciplinary knowledge base, as well as the methodological tools necessary for undertaking this project. Kenneth Cuno has imparted unparalleled insight on Middle Eastern history and sociocultural phenomena. He has continually modeled a sophisticated level of interdisciplinary thinking that has deeply influenced my scholarly approach. Christina Bashford has been fundamental to my understanding of archival research and methodology, and has taught me innovative ways of bringing together historical and ethnographic research. Her influence can be felt throughout this dissertation. A number of other musicians, colleagues, professors, and artists have been fundamental to my growth at the University of Illinois, including Kirstie Simson, Dorothy Martirano, Armand Beaudoin, Erik Lund, John Toenjes, Ken Beck, Jason Finkelman, Brian Behrns, Jessica Cornish, and Philip Johnston, with whom I have participated in some of my most meaningful musical collaborations. Armand and his wonderful wife Kathy Hughes have not only provided me with regular lodging and food v over these many years, but also great camaraderie and friendship. I would also like to thank Andy Jaffe, Adriana Helbig, Tom Turino, Bruno Nettl, Lillie Gordon, Yore Kedem, Yoshitaka Terada, and Janet Dixon-Keller for their academic guidance. I owe special thanks to my dear friends and colleagues Anne Clark, Catherine Hennessy Wolter, Ioannis Tsekouras, and Jill Burlingame, for their endless supply of advice, humor, and support that has sustained me throughout my graduate career. I would like to thank my family, who have been integral in helping me become the person and scholar that I am today: my father, Robert Goldman, my intellectual hero and a tireless, lifelong supporter of my academic efforts; my sister Liat Goldman, who always encourages me to think outside the box, and who introduced me to the meaning of intellectual rigor at an early age; my brother Nir Goldman, who has granted me the gift of immeasurable laughter and love, and whose innate academic curiosity forms a continual source of inspiration; my sister-in-law, Danielle Goldman, who has enriched my life with endless laughter and encouragement over these many years; my nieces Meleah, Shoshana, and Marcelle, and my nephew Gahl, who have made me the proudest aunt alive. To my sisters-in-law Teresa and Ana Berta Carrizo, I am thankful for the light and love you bring to my life, and for the wonderful friendship with my brothers-in-law Jorge Escalona and Luis Guillén. I thank my mother-in-law Carmen Aleman and stepfather-in- law Tabo Toral, whose love of the arts has continually influenced my musical scholarship, and my stepmother-in-law Kira Chang, an enduring source of strength and love. I would also like to acknowledge my deeply loved father-in-law, Jorge A. Carrizo, now passed, whose inherent generosity and penchant for philosophical thought has left an indelible imprint on my soul, for which I will be forever grateful. vi I would not be where I am today were it not for the decades of love showered upon me by my uncles Dod Oved and Dod Mimi, and for my wonderful cousins JJ, Rachel, and Yael. I am thankful for my uncle Dod Eli, and cousins Natali and Adam, for providing endless hours of wisdom and support during our time in Israel. I would also like to extend my gratitude to my other Israeli family members Ezra and Flora Dagan, Doda Ayala, Dod Tzion, Daisy, Nimrod, Marinette, Eil-eil, Chen, Ariella, Hagit, Na’ama, Ruti, Yossi, David, Roi, and Inbal, who have shared an abundance of hospitality and love, as well as my American family members Tanya, Gaddy, Katie, Benny, Janet, Martin, Eva, Alexandra, and Barak. My years in graduate school were enriched by my Barder/Carrizo Chicago family: Tia Any, Tio Tim, Nicole, Jonathan, Megan, and Christoper (Father Luke), as well as Leigh Breslau, Irene Sherr, and their three wonderful children. I am grateful to Angela Sheffield AlderseBaes, whose brilliant and fearless soul taught a small child how to dare, in the biggest sense of the word; to Nneji Kennedy, who possesses a heart of gold, and whose priceless friendship is a source of everlasting solace, comfort, and joy in my life; to my sister Cathy Szpunt-Monroy and my brother Alvaro Jarrin, my siblings of the heart and co-adventurers in the pursuit of the world’s best food; and to the rest of the Goodrich Gang: Joseph Monroy, Kevin Hsueh, Caroline Fan, Princess Alegre, Fox Jarrin, and Wei-li Gray. I am grateful for my friends and confidants J.J. Oviedo, Naomi Gaffney, Casey Lee Thorne, Curtis Rumrill, Sarah Trist, Juna, Fema, Elisa al-Baghdadi, Jahsim, Laila, Mazen, Bam, Alia Ibrahim, Liliana, Eun Young Lee, Gulsah Mursaloglu, Alican Camci, Julie Yeagle, and Iddo Aharoni. Iddo, in particular, has provided numerous insights on Hebrew idioms and Israeli music, all of which are found throughout this dissertation. vii I am extremely thankful for the many Iraqi scholars, colleagues, and friends who have graciously answered my many queries, providing guidance and advice, information, and translation assistance. These include Iman Al-Abdul Wahid, Scheherazade Hassan, Halim al-Malak, and George D. Mikhael. I would also like to thank Mustapha Kamal, whose expertise in numerous Arabic dialects is inspirational; he has provided invaluable help throughout this project. Finally, to my daughter Naima and my son Adrian: watching you grow has provided a most beautiful counterpoint to the stressful days of academic writing. I am grateful for the love of my life, Andres Carrizo, who is always up for an adventure, and who eagerly and unquestioningly agreed to traverse the world with me with our children in tow.
Load more

Recommended publications
  • Who Needs Arab-Jewish Identity? Brill’S Series in Jewish Studies
    Who Needs Arab-Jewish Identity? Brill’s Series in Jewish Studies Edited by David S. Katz VOLUME 53 The titles published in this series are listed at brill.com/bsjs Who Needs Arab-Jewish Identity? Interpellation, Exclusion, and Inessential Solidarities By Reuven Snir LEIDEN | BOSTON Library of Congress Cataloging-in-Publication Data Snir, R. (Reuven), author. Who needs Arab-Jewish identity? : interpellation, exclusion, and inessential solidarities / by Reuven Snir. pages cm. — (Brill’s series in Jewish studies, ISSN 0926-2261 ; volume 53) Includes bibliographical references and index. ISBN 978-90-04-28911-6 (hardback : alk. paper) — ISBN 978-90-04-28910-9 (e-book) 1. Jews—Arab countries—Identity—History. 2. Arab countries—Ethnic relations. I. Title. DS135.A68S65 2015 305.892’40174927—dc23 2014049552 This publication has been typeset in the multilingual ‘Brill’ typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see brill.com/brill-typeface. issn 0926-2261 isbn 978-90-04-28911-6 (hardback) isbn 978-90-04-28910-9 (e-book) Copyright 2015 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa.
    [Show full text]
  • Arbeitsberichte 187 ARABS of the MOSAIC FAITH REUVEN SNIR Born in Haifa in 1953, Reuven Snir Is Currently Professor of Arabic Li
    ARABS OF THE MOSAIC FAITH REUVEN SNIR Born in Haifa in 1953, Reuven Snir is currently Professor of Arabic Literature at the Uni- versity of Haifa, Israel. He studied Philosophy and Arabic Literature at the Hebrew Uni- versity in Jerusalem. He is the author of several books, among them Modern Arabic Liter- ature: A Functional Dynamic Historical Model (2001), Rak‘atan fi al-Ishq: Dirasa fi Shi‘r Abd al-Wahhab al-Bayyati (Two Rak‘as in Love: A Study of Abd al-Wahhab al-Bayyati’s Poet- ry) (2002), and Arviyut, Yahadut, Ziyonut: Maavak Zehuyot ba-Yezira shel Yehude Iraq (Arab- ness, Jewishness, Zionism: A Struggle of Identities in the Literature of Iraqi Jews) (2005). – Address: Department of Arabic Language and Literature, University of Haifa, Mount Carmel, Haifa, 31905, Israel. E-mail: [email protected] On 14 December 1984, I was sitting in the news department of the Voice of Israel, Arabic section. Our correspondent had just informed us that Anwar Shaul (1904–84) had passed away. We broadcast this news along with a short biography. Over the internal telephone network, I called the news editor in the Hebrew section; it was important, I thought, to inform Israeli citizens that one of the last Arab-Jewish writers had passed away. “Anwar who?!” I heard her screaming. I explained briefly. “It doesn’t interest our listeners,” she said. I did not try to convince her, but these words stayed with me. As an academic dealing with the historical development of Arabic literature, mainly in modern times, I saw myself faced with a challenge.
    [Show full text]
  • December 23, 2006
    The National Herald December 23, 2006 The National Herald is once again honored to join you and your family for Christmas. In addition to the other contents in this issue, we have spotlighted two short and abridged stories written by Photios Kontoglou (1895–1965), a gifted and spiritual artist. These stories depict two unique celebrations of Christmas in Aivali, Asia Minor. As the Christmas season draws near, many of us will be attending Orthodox churches and experiencing the spiritual power of Greek icons. Kondoglou was the foremost iconographer in Greece in the 20th century. He wrote extensively on the sacred art of iconography, in fact he is considered the man responsible for the revival of Byzantine iconography in the 1930’s. Kontoglou was born in 1895 in Aivali, Asia Minor. Together with his paintings and his writings, he published more than 3000 studies and articles, fighting for the eternal values of the Or- thodoxy and the Greek Tradition. Although known primarily as an iconist and philosopher, Kontoglou was also nominated for the Nobel Prize in literature. He was awarded the Cross-of-the- Commander of the Phoenix and received the Distinction of Letters and Arts from the Academy of Athens in recognition of all his exceptional work. We are also continuing our theme of Christmas past with a touching story, from the perspective of a Greek soldier, during the Albanian campaign of 1940-1941. Included in this insert is a lighthearted piece by Paul Papadeas about celebrating Christmas Greek style in North Carolina during the 1980’s. As for the story of Christmas present we leave it up to you, and from all of the staff of The National Herald we wish you “Χρόνια Πολλά.” Beverley MacDougall Special Section Assistant Editor 2 CHRISTMAS 2006 THE NATIONAL HERALD, DECEMBER 23, 2006 and fill their hearts and minds with The National Herald peace.
    [Show full text]
  • When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
    Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it.
    [Show full text]
  • Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)
    Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music.
    [Show full text]
  • Chanukah Cooking with Chef Michael Solomonov of the World
    Non-Profit Org. U.S. POSTAGE PAID Pittsfield, MA Berkshire Permit No. 19 JEWISHA publication of the Jewish Federation of the Berkshires, serving V the Berkshires and surrounding ICE NY, CT and VT Vol. 28, No. 9 Kislev/Tevet 5781 November 23 to December 31, 2020 jewishberkshires.org Chanukah Cooking with Chef The Gifts of Chanukah Michael Solomonov of the May being more in each other’s presence be among World-Famous Restaurant Zahav our holiday presents On Wednesday, December 2 at 8 p.m., join Michael Solomonov, execu- tive chef and co-owner of Zahav – 2019 James Beard Foundation award winner for Outstanding Restaurant – to learn to make Apple Shrub, Abe Fisher’s Potato Latkes, Roman Artichokes with Arugula and Olive Oil, Poached Salmon, and Sfenj with Cinnamon and Sugar. Register for this live virtual event at www.tinyurl.com/FedCooks. The event link, password, recipes, and ingredient list will be sent before the event. Chef Michael Solomonov was born in G’nai Yehuda, Israel, and raised in Pittsburgh. At the age of 18, he returned to Israel with no Hebrew language skills, taking the only job he could get – working in a bakery – and his culinary career was born. Chef Solomonov is a beloved cham- pion of Israel’s extraordinarily diverse and vibrant culinary landscape. Chef Michael Solomonov Along with Zahav in Philadelphia, Solomonov’s village of restaurants include Federal Donuts, Dizengoff, Abe Inside Fisher, and Goldie. In July of 2019, Solomonov brought BJV Voluntary Subscriptions at an another significant slice of Israeli food All-Time High! .............................................2 culture to Philadelphia with K’Far, an Distanced Holidays? Been There, Israeli bakery and café.
    [Show full text]
  • 2009 Hamerkaz
    50883_Book_r3:50883_Book_r3 9/16/09 2:21 PM Page 1 F ALL 2 0 0 9 E DITION HAPPY NEW YEAR 5770 HAMERKAZ A PUBLICATION OF THE SEPHARDIC EDUCATIONAL CENTER SECuring Our Jewish Future 50883_Book_r3:50883_Book_r3 9/16/09 2:21 PM Page 2 BOARD MEMBERS Dr. Jose A. Nessim, Founder & President MESSAGE FROM THE BOARD W o r l d E x e c u t i v e C o m m i t t e e Ronald J. Nessim, Chair Sarita Hasson Fields Raymond Mallel Freda Nessim By Ronald J. Nessim Steven Nessim Prof. Eli Nissim There has been significant and exciting changes at the SEC over the past two Dr. Salvador Sarfatti years. Let me update you on some of them. Neil J. Sheff Marcia Israel Weingarten Larry Azose, World Executive Director In the fall of 2007, we hired Larry Azose as our full-time executive director. Larry has a rich Sephardic background, brings organizational skills to the SEC and is S E C J e r u s a l e m C a m p u s 200% committed to our cause. We are fortunate to have him. Rabbi Yosef Benarroch, Educational Director [email protected] Our executive committee which I am proud to chair has been meeting monthly in Israel Shalem, Administrative Director Los Angeles. The executive committee has made great progress in revitalizing the [email protected] SEC and each member has assumed primary responsibility in one or more areas such as finance, Israel programs and our Jewish day school initiative. S E C C h a p t e r s Los Angeles• Argentina• New York• Montreal It is our intent over the coming months to create Advisory Committees consisting World Executive Offices of community leaders in our local chapters.
    [Show full text]
  • Maqam of the Week:Layout 1.Qxd
    SEPHARDIC CUSTOMS Maqam of the Week Book of Numbers -- Summer 2009 David M. Betesh he Middle Eastern Sephardic Jewish community has a T unique tradition of using a dif- ferent maqam (Arabic: melody type) each Shabbat for the Shaharit (morning) prayer services. The melodies used in a given maqam aim effectively to express the mood throughout the prayers. The maqam that will be used is based on the theme of the parasha. The main maqamat generally used are: Rast, Mahour, Ajam, Nahwand, Saba, Sigah, Bayat, Hoseni, Rahawi/Nawah and Hijaz. The maqamat have different melodies and have different reasons as to why they are used. Allow me to explain why and when some of the maqamat will be used throughout the weeks of the early summer 2009 season—specifically during the eight weeks of the Book of Numbers (Sefer Bamidbar Sinai). The information here is based also used for the ta'amim (cantilla- connection to the Hanukkah festi- on the traditions of the Sephardic tions) of Megillat Ruth; the scroll that val). Also, it may or may not be a Syrian Jews of Aleppo as recorded is read during the Shavuot festival. coincidence that Sigah, the word by the Red Pizmonim book, Sefer For Shabbat Naso, the longest that means “third” in Persian, is Shir U'Shbaha Hallel Ve'Zimrah. parasha of the Torah, the prayers used for the third parasha of Sefer There are slight variations in the are conducted in Maqam Saba Bamidbar. Sigah is the maqam used maqam choices by the Beirut, (which means army). There are two for reading the Torah.
    [Show full text]
  • The Role of Ultra-Orthodox Political Parties in Israeli Democracy
    Luke Howson University of Liverpool The Role of Ultra-Orthodox Political Parties in Israeli Democracy Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy By Luke Howson July 2014 Committee: Clive Jones, BA (Hons) MA, PhD Prof Jon Tonge, PhD 1 Luke Howson University of Liverpool © 2014 Luke Howson All Rights Reserved 2 Luke Howson University of Liverpool Abstract This thesis focuses on the role of ultra-orthodox party Shas within the Israeli state as a means to explore wider themes and divisions in Israeli society. Without underestimating the significance of security and conflict within the structure of the Israeli state, in this thesis the Arab–Jewish relationship is viewed as just one important cleavage within the Israeli state. Instead of focusing on this single cleavage, this thesis explores the complex structure of cleavages at the heart of the Israeli political system. It introduces the concept of a ‘cleavage pyramid’, whereby divisions are of different saliency to different groups. At the top of the pyramid is division between Arabs and Jews, but one rung down from this are the intra-Jewish divisions, be they religious, ethnic or political in nature. In the case of Shas, the religious and ethnic elements are the most salient. The secular–religious divide is a key fault line in Israel and one in which ultra-orthodox parties like Shas are at the forefront. They and their politically secular counterparts form a key division in Israel, and an exploration of Shas is an insightful means of exploring this division further, its history and causes, and how these groups interact politically.
    [Show full text]
  • Memorabilia. Collecting Sounds With…
    Research > MEMORABILIA. COLLECTING MEMORABILIA. COLLECTING SOUNDS WITH… Memorabilia. Collecting Sounds with... is a new series from SOUNDS WITH… Ràdio Web MACBA that seeks to break through to unearth and reveal private collections of music and sound memorabilia . The Mark Gergis documentary series is being presented this spring at the Museu d'Art Contemporani de Barcelona (MACBA) in a prospective conference/listening format, where four collectors have been 01. Conversation with Mark Gergis on his sound collection invited to share the concerns and particular characteristics that have driven them to build their personal collections. This is a When did you start collecting sound and music and why? What lead you to be a historiography of sound collecting that reveals the unseen and record/sound/video collector? passionate work of the amateur collector while reconstructing multiple parallel histories such as the evolution of recording I've mapped out my own psychology and deduced it to this recipe: I have an Iraqi formats, archival issues, the sound collecting market and the background. My father comes from Baghdad and I was subsequently exposed to evolution of musical styles beyond the marketplace. Arabic music and culture throughout childhood. My mother is American. Her father was in high-level military radio intelligence and used to let me listen or talk This is a conversation by email between Mark Gergis and Anna on his state-of-the-art super-powered radio receivers in the seventies and eighties. Ramos to prepare his forthcoming radio show at Ràdio Web He'd point at an automated antennae-driven globe and ask where and who in the MACBA, which took place on March 2011.
    [Show full text]
  • Where the Flavours of the World Meet: Malabar As a Culinary Hotspot
    UGC Approval No:40934 CASS-ISSN:2581-6403 Where The Flavours of The World Meet: CASS Malabar As A Culinary Hotspot Asha Mary Abraham Research Scholar, Department of English, University of Calicut, Kerala. Address for Correspondence: [email protected] ABSTRACT The pre-colonial Malabar was an all-encompassing geographical area that covered the entire south Indian coast sprawling between the Western Ghats and Arabian Sea, with its capital at Kozhikkode. When India was linguistically divided and Kerala was formed in 1956, the Malabar district was geographically divided further for easy administration. The modern day Malabar, comprises of Kozhikkode, Malappuram and few taluks of Kasarkod, Kannur, Wayanad, Palakkad and Thrissur. The Malappuram and Kozhikkod region is predominantly inhabited by Muslims, colloquially called as the Mappilas. The term 'Malabar' is said to have etymologically derived from the Malayalam word 'Malavaram', denoting the location by the side of the hill. The cuisine of Malabar, which is generally believed to be authentic, is in fact, a product of history and a blend of cuisines from all over the world. Delicacies from all over the world blended with the authentic recipes of Malabar, customizing itself to the local and seasonal availability of raw materials in the Malabar Coast. As an outcome of the age old maritime relations with the other countries, the influence of colonization, spice- hunting voyages and the demands of the western administrators, the cuisine of Malabar is an amalgam of Mughal (Persian), Arab, Portuguese,, British, Dutch and French cuisines. Biriyani, the most popular Malabar recipe is the product of the Arab influence.
    [Show full text]
  • General Debate on Holocaust Memorial Day 2019 3
    DEBATE PACK Number CDP-0011, 22 January 2019 General debate on Compiled by: Sarah Priddy Holocaust Memorial Day 2019 Contents Summary 1. Press notices 3 2. Press and blog articles This debate pack has been compiled ahead of the general debate on Holocaust 9 Memorial Day to be held in the Commons Chamber on Thursday 24 January 3. Parliamentary 2017. The subject was determined by the Backbench Business Committee. material 12 The debate will be on the motion: That this House has considered Holocaust 3.1 Debates 12 Memorial Day 2019. 3.2 Ten-minute rule motion 12 Holocaust Memorial Day, 27 January, has taken place in the UK since 2001. 3.3 Oral questions 12 Each year, the Holocaust Memorial Day Trust chooses a different theme to 3.4 Written questions 15 enable audiences on Holocaust Memorial Day to learn something new about the 3.5 Early Day Motions 21 past. Every theme is relevant to the Holocaust, Nazi Persecution and to each 3.6 All Party Parliamentary subsequent genocide. This year’s theme: Torn from home. Groups 22 Torn from home encourages audiences to reflect on how the enforced loss of a 4. Further information 23 safe place to call ‘home’ is part of the trauma faced by anyone experiencing persecution and genocide. ‘Home’ usually means a place of safety, comfort and security. HMD 2019 will include marking the 25th anniversary of the Genocide in Rwanda, which began in April 1994 and the 40th anniversary of the end of the Genocide in Cambodia, which ended in 1979. The House of Commons Library prepares a briefing in hard copy and/or online for most non-legislative debates in the Chamber and Westminster Hall other than half-hour debates.
    [Show full text]