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City Research Online City Research Online City, University of London Institutional Repository Citation: Crowdus, Miranda (2016). Hip hop in South Tel Aviv: third space, convergent dispossession(s), and intercultural communication in urban borderlands. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15958/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Miranda L. Crowdus Hip Hop in South Tel Aviv: Third-Space, Convergent Dispossession(s), and Intercultural Communication in Urban Borderlands PhD City University London Department of Music School of Arts and Social Sciences July 2016 1 . THE FOLLOWING ITEMS HAVE BEEN REDACTED FOR COPYRIGHT REASONS: p.121 Figure 13 p.124 Figure 14 p.137 Figure 15 p.142 Author’s translation p.143 Author’s translation p.150 Author’s translation p.177 Author’s translation p.178 Author’s translation p.201 Figure 17 p.204 Figure 18 p.215 Figure 21 p.218 Author’s translation 2 Declaration For the purposes of a thesis submitted for the degree of PhD to City University London, I hereby declare that the work presented in this thesis is my own and that any sources that are not my own have been properly acknowledged. I grant powers of discretion to the City University Library to allow this thesis to be copied in whole or in part without further reference to myself. This permission extends to copies made for study, subject to normal conditions as per the university guidelines. Miranda L. Crowdus Hanover, Germany July 2016 3 Abstract This thesis critically examines the transformative function and the limitations of cross- cultural elements in current musical practices in Israel, specifically, in Hip Hop practices in the urban context of the diverse neighbourhoods of South Tel Aviv. This study explores locales on border-areas of the urban space, investigating precisely how Hip Hop practitioners and their audiences negotiate identity, politics, and cross-cultural communication in an urban zone, which, even while it enables unprecedented intercultural encounters, is characterized by an overarching international conflict. Specific examples have been explored to illustrate how the diverse performers and audience members consciously embody the paradox of political disparity and co-existence through their eclectic musical idiom and through the social aspects of the music-making process and public performance. My investigation shows how intercultural elements are negotiated in Hip Hop performances in contemporary Israeli urban space. Using an interdisciplinary approach, I propose and apply several theoretical frames of analysis. This multi-faceted framework allows the illustration of the complexity of the way in which the musical experience negotiates boundaries of identity and belonging. Amongst the theoretical frameworks are Homi Bhabha’s concept of third- space (1990) and Maurice Halbwach’s notion of local ‘collective memory’ (1941). My research locates the scope of investigation in a broad, abstract, transnational arena, and also in an analysis of the specific range of identities affected and potentially transformed by musical collaboration in a concrete and specific urban setting. The broad focus highlights how the Hip Hop groups under investigation operate and are regarded globally; the narrow scope enables an analysis of how, in the context of ethnic conflict and co-existence in contemporary Israel, identity construction and negotiation is experienced in different ways by the individuals physically co-existing in shared urban space. 4 Table of Contents Declaration………………………………………………………….…….. 3 Abstract…………………………………………………...………………. 4 List of Figures…………………………………………………………….. 8 Acknowledgements…………………………………………………….…. 9 Part I: Broad Influences, Critical Issues Chapter 1: Background…………………………………………………... 11 1.1 Objectives………………………………………………………….. 11 1.2 Adding to Current Scholarship ……………………………………. 13 1.3 Theoretical Frameworks…………………………………………… 19 1.4 Locales in Context: South Tel Aviv and its Neighbourhoods……... 24 1.5 The Significance of Jaffa……….………………………………….. 26 1.6 Positionality………………………………………………………... 28 1.7 A Note about Terminology…...……………………………………..31 1.8 Political Climate…………………………………………………… 33 1.9 Methodology: A Note About Fieldwork…………………………... 34 1.10 Literature Review…………………………………….……………. 36 I. Music in Israel……………………………………………… 37 II. Music in the Palestinian Territories…………………………39 III. Music and Conflict Transformation………………………... 41 IV. Hip Hop Studies……………………………………. ……... 44 V. Urban Ethnomusicology: Case Studies…………………….. 46 VI. The Arab-Israeli Conflict…………………………………... 46 1.11 Concluding Thoughts………………………………………..……... 48 Chapter 2: The History of Music in Israel……………………………… 49 2.1 The Musical Battle for Identity……………………………………….49 2.2 Shirei Eretz Yisrael (Songs of the Land of Israel)………….………... 54 2.3 Palestinian Traditional Music………………………………………... 56 2.4 Mizrahi Music………………………………………………………... 56 2.5 Muzika Etnit Yisraelit (Israeli Ethnic Music)…………….…….……. 59 2.6 Other Genres…………………………………………………………. 60 2.7 Hip Hop…………………………………………………….......……. 61 2.8 Music and Anti-Normalization………………………………………. 61 5 Chapter 3: Hip Hop: Local and Global Flows………………………….. 65 3.1 Hip Hop: An Overview………………………...…………………… 65 3.2 Hip Hop and Resistance…………………………………………….. 67 3.3 Hip Hop and Resistance: Being the ‘Underdog’ is Relative………... 69 3.4 Dogmatic Resistance: Is Hip Hop Homiletic?………………………..72 3.5 Hip Hop and Finances………………………………………………. 74 3.6 Local Flows: Hip Hop Styles in Israel……………………………… 76 3.7 System Ali…………………………………………………….…….. 79 Part II: The Specifics: Case Studies and Other Encounters Chapter 4: Hip Hop Performances in Third-Space………..……………..83 4.1 Hip Hop and third-space: Potential and Limitations……………….. ..83 4.2 The New Central Bus Station………………………………………...86 4.3 DAM’s Polyvalent Performance at The Block Club…………………93 4.4 DAM’s Absent Audiences…………………………………………..107 4.5 The Old Jaffa Plateau……………………………………………..... 108 4.6 System Ali Negotiate third-space in Rehearsal……………………..118 4.7 Hip Hop and third-space in South Tel Aviv: A Conclusion…….......126 Chapter 5: Collective Memory, Hip Hop and Identity…………………. 129 5.1 Collective Memory: Local versus National………………………... 129 5.2 Subliminal: National Collective Dispossession……………………. 135 5.3 System Ali’s ‘Natush’: Collective Dispossessions Converge……... 153 5.4 Israeli Popular Music and Narratives of Dispossession……………. 164 A. The Memorial Service………………………………………….. 164 B. Convergent Dispossessions in the ‘Hood’……………………… 167 5.5 Conclusion…………………………………………………………. 172 Chapter 6: Intertextuality and Hip Hop….……………………………... 173 6.1 Introduction……………………………………………………….. 173 6.2 Songs of the Land of Israel in ‘Voina’…………………………..…. 175 6.3 ‘Yalda MiGadot’………………………………………………….... 176 6.4 Che Guevara and the Arab Spring………………………………..... 179 6.5.1 Religious Intertexts: Biblical References…………………………... 182 6.5.2 Palestinian Exile and the Jewish Exodus from Egypt…………….... 184 6.5.3. Reggae and the Ancient Israelites……………………………….…. 187 6.6 Conclusion………………………………………………………..... 190 6 Chapter 7: Intercultural Dynamics: Crunchy Language Salad………... 193 7.1 Introduction………………………………………………………… 193 7.2 System Ali and Intercultural Dynamics……………………………. 195 7.3 Intercultural Communication across a Generation………………… 199 7.4 Multiple Musical Genres: Intercultural Metaphors? …………......... 204 7.5 Multi-lingualism: Crunchy Language Salad……………………….. 207 7.6 Intercultural Communication in Quotidian Music-Making………... 213 A. ‘Russians’ on King George Street…….…………...……………. 213 B. Recording behind a Mattress Shop….…………….....………….. 222 7.7 Conclusion……………………………………………………..…... 227 Chapter 8: Conclusion……………………………………..…………....…. 235 8.1 Research Summary……………………………………………………. 235 8.2 Research Results……...……………………………………………….. 236 8.3 Immediate Contribution……………………………………...……….. 240 8.4 Broader Questions…………………………………………..………… 242 8.5 New Questions……………………………………………...………… 244 Bibliographies………………………………………………..……….…… 246 Appendix 1: Map of South Tel Aviv and Jaffa………………...……….…..271 7 List of Figures Figure 1: The Florentine Neighbourhood………………….. 51 Figure 2: Florentine Hostel, Communal Area……………......52 Figure 3: Photograph of System Ali………...………………. 80 Figure 4: System Ali Official Logo………………………….. 80 Figure 5: DAM Official Logo……………………..………… 81 Figure 6: The Central Bus Station………………………….. 87 Figure 7: Examples of Experiences: Bus Station…………... 89 Figure 8: Religious Stall: Bus Station..…….……………….. 90 Figure 9: Tattoo-Piercing Shop: Bus Station..……………... 91 Figure 10: Kingdom of Pork: Bus Station…………………… 92 Figure 11: Entrance to The Block Club………………………..95 Figure 12: The Arab Hebrew Theatre of Jaffa…………….... 109 Figure 13: Still from ‘Ala Bali’ Music Video…………….…...121
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