Introduction to the Middle East: Adjustment and Change in Modern Times Spring 2011 Tuesdays & Thursdays: 2:00-3:30 - UTC 4.10

Total Page:16

File Type:pdf, Size:1020Kb

Introduction to the Middle East: Adjustment and Change in Modern Times Spring 2011 Tuesdays & Thursdays: 2:00-3:30 - UTC 4.10 Introduction to the Middle East: Adjustment and Change in Modern Times Spring 2011 Tuesdays & Thursdays: 2:00-3:30 - UTC 4.10 Professor: Brian Mann TA: Anthony Joyce Email: [email protected] Email: [email protected] Office: TBD Office: TBD Office Hours: Tu: 10:30am-1pm & by appt. Office Hours: TBD Course Description This course is a survey of the history of the Middle East from roughly 1798 C.E. to the present day. Throughout the semester, we will study the political, socio-economic, religious, and cultural transformations the region experienced during the ages of imperialism, global war, decolonization, and the Cold War. The course is organized chronologically; however, we will also focus our attention on specific themes and issues (such as orientalism, imperialism, nationalism, decolonization, oil politics, and the rise of modernist and revivalist Islamic movements), which will provide us with a framework with which to construct and analyze the modern Middle East. By the end of the semester, students will have obtained a broad understanding of the historical and present day Middle East and will have improved their analytical skills. Moreover, students will have a basic grasp of the various methodological and theoretical tools historians rely upon when they study this vital region of the world. The class sessions are organized around lectures, with time provided for questions. A schedule of the topics, readings, assignments, and exams is given below. Videos, songs, and other multimedia materials assigned and shown in class will supplement the readings and lectures. Students are advised to attend class regularly and to keep up with the assignments. We will be covering a few hundred years of history, many countries, and a wide range of issues and themes. Students who do not attend class regularly and those who do not keep up with the assignments likely will find it difficult to understand and comprehend the complexities of the history of the modern Middle East. This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. Course Readings The textbooks are available for purchase at the Co-op and online through retailers such as Amazon. All other readings and assignments can be found on Blackboard. 1) William Cleveland & Martin Bunton. A History of the Modern Middle East, 4th edition. 2) Marvin E. Gettlemen and Stuart Schaar, eds. The Middle East and Islamic World Reader. Grading Midterm Exam: 25% Final Exam: 30% Film Paper: 20% Discussion Board/Class Participation: 10% Assignment Quizzes: 5% Map Quiz: 5% Arab-Israeli Conflict Quiz: 5% Evaluation Exams o There are two examinations for the course. The format of the exams will be announced ahead of time. The exams will include some short answer questions (e.g. multiple choice, fill-in-the-blank, matching), as well as questions which will require longer written responses (e.g. identifications and essays). o The midterm examination will be held in class on Thursday, March 10. This is the class just before Spring Break. o The final examination will be held on a date and in a location to be determined. o The exams will cover material from both lectures and readings. o Students must take the midterm and final exams on the specified dates at the specified times. Only in extreme and extraordinary circumstances can the exams be taken at other times. Please see the makeup policy below. Film Paper o Each student will watch a film chosen from the list provided below. Each student then will write a short paper comparing the film we watched in class to that of his or her own film. Students specifically will address the ways in which American-Middle Eastern relations and/or the peoples of the Middle East are portrayed. The paper is due on Tuesday, May 3. The assignment is posted on Blackboard. Quizzes o Unannounced quizzes will be administered throughout the semester. You will only be quizzed on readings and assignments which are not from Cleveland. Discussion Board/Class Participation o Unfortunately the size of this class (75 students!) limits our ability to engage in meaningful dialogue and debate. That said, the professor encourages all students to ask questions and they should feel free to offer critical analysis at any time during a lecture. Remember: there are no silly questions. o In order to make up for the limitations imposed by the size of the class, students are required to post on the Discussion Section on Blackboard. There is no required content for these posts. However, students are particularly encouraged to post questions, analysis, links to articles, videos, songs, etc. (anything related to the course), and offer comments on their own posts and the posts of others. In other words, students should engage in a dialogue with each other about the modern Middle East. o The Discussion Section is divided into several boards devoted to specific countries or regions. Please post accordingly. Moreover, please note that there is also a “class related” board which is reserved for discussion of the class itself (i.e. lectures, readings, assignments, study tips, and so on). o Students will be graded on the quality and frequency of their posts. o Please note, during weeks 11-16, students are required to post with regard to specific topics (see below). Each student must post at least once during each of these weeks (i.e. a minimum of 6 posts); however, multiple posts are encouraged and will be rewarded. Map Quiz o Students will be asked to identify countries, cities, and geographical features. A list of locations can be found on Blackboard. o The Map Quiz will take place in class on Tuesday, February 8. Arab-Israeli Conflict Quiz o The quiz will consist of two sections: a) map identification, and b) people identification. o The map section will have the same format as the Map Quiz, except here you will be asked to identify areas, cities, and geographical features in Israel/Palestine and its immediate vicinity. o The people section will consist of matching/fill in the blank/multiple choice questions with regard to the political leaders involved in the conflict (some historical, some contemporary). o A list of all locations and people can be found on Blackboard. o The Arab-Israeli Conflict Quiz will take place in class on Thursday, April 14. Policies Privacy Policy The Family Educational Rights and Privacy Act (FERPA) protects the confidentiality of your educational records. Grades cannot be given over the phone, posted on a campus bulletin board or on the Web, e-mailed, or delivered through a fellow student. Additionally, parents do not have the right of access to their student's grade information without the student's formal approval. More information on FERPA is available at: http://www.ed.gov/policy/gen/guid/fpco/ferpa/index.html Grading & Email As indicated immediately above, all matters concerning any and all course grades must be dealt with during office hours or by appointment. Such matters must not be raised over email, which is not a secure and private mode of communication. Makeup Exams Makeup exams will be available only for students who are facing extraordinary and unavoidable circumstances for which documentation can be provided. The professor reserves the right to decide whether those circumstances actually warrant the granting of a makeup exam. Leaving Austin early for Spring Break or summer vacation does not constitute an extraordinary and unavoidable circumstance! In addition, the professor reserves the right to administer makeup exams that are longer and potentially more challenging than the exams administered in class on the regularly scheduled exam dates. Academic Freedom The free exchange of information and ideas is essential to the success of this course. Therefore, class debate and discussion is encouraged, and students are required to respect one another‟s ideas and opinions. You also of course are free to disagree with your professor. General Policies All University policies apply to this course, including: o (1) the accommodation of disabilities; (2) allowed absence for religious holidays (see Part 4 of the current General Information catalog); and; (3) freedom of speech Please note: Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on University policies, see the General Information 2007-2008 catalog, Appendix C, Chapters 11 and 13, and the following Web sites: Academic Accommodations for Students with Disabilities at: www.utexas.edu/diversity/ddce/ssd/ and Student Judicial Services (SJS) at: http://deanofstudents.utexas.edu/sjs/ Miscellanea Please do not be late. The professor or one of your fellow students will be speaking, and coming late will serve as a distraction and is disrespectful. Please turn off all cell phones or set them to silent before class begins. Please do not begin to pack up until you are dismissed. Your fellow students may still be listening or speaking. Laptop use is permitted in class. However, you are expected to use your computer for class related purposes (We all love Facebook, but we can check it after class!) Video/audio recordings of lectures are prohibited unless otherwise approved by the professor. The professor reserves the right to make changes to this syllabus. Any changes in this schedule will be announced in class and posted on Blackboard. Course Schedule Readings & assignments are to be completed for the class meetings under which they are listed. If you did not take the first course in the Middle East sequence (Introduction to the Middle East: Religious, Cultural and Historical Foundations), you may want to read the first three chapters of Cleveland to familiarize yourself with the history of the region prior to 19th century.
Recommended publications
  • History of Hatikvah, Israel's National Anthem This Video Dives Into the History of Israel’S Iconic National Anthem, Hatikvah
    Educator’s Guide History of HaTikvah, Israel's National Anthem This video dives into the history of Israel’s iconic national anthem, HaTikvah. While some students may be familiar with these words, do they know their meaning, or the anthem’s complex backstory? Originally a nine-stanza poem, HaTikvah’s melody may have been lifted from an earlier Italian or Czech song. Today, HaTikvah both inspires and irritates. It is an aspirational anthem, which connects Jews around the world, and it also alienates others who do not connect to the themes. This episode begs the important question: What’s more important in a national anthem- that it include all of its citizens or that it embody the spirit upon which the country was founded and that it strives to maintain? Video: https://unpacked.education/video/history-of-israels-national-anthem-does-hatikvah-mean -hope-for-all/ Further Reading 1. Dr. James Loeffler, “How ‘Hatikvah’ (The Hope) Became Israel’s National Anthem” https://www.myjewishlearning.com/article/hatikvah/ 2. Edwin Seroussi, “Hatikvah: Conceptions, Receptions and Reflections” http://www.jewish-music.huji.ac.il/content/hatikvah-conceptions-receptions-and-reflection s 3. Ilan Ben Zion, “How an unwieldy romantic poem and a Romanian folk song combined to produce ‘Hatikva’” https://www.timesofisrael.com/how-an-unwieldy-romantic-poem-and-a-romanian-folk-son g-combined-to-produce-hatikva/ 4. Benjamin Kerstein, “‘Hatikvah’ Keeps its Edge, Despite Everything” http://www.thetower.org/article/hatikva-keeps-its-edge-despite-everything/ © 2019 Unpacked for Educators All Rights Reserved ​ 1 5. Dr. Rafael Medoff, “‘Hatikvah’ in the Holocaust” http://www.jewishledger.com/2013/04/hatikvah-in-the-holocaust/ 6.
    [Show full text]
  • Communism's Jewish Question
    Communism’s Jewish Question Europäisch-jüdische Studien Editionen European-Jewish Studies Editions Edited by the Moses Mendelssohn Center for European-Jewish Studies, Potsdam, in cooperation with the Center for Jewish Studies Berlin-Brandenburg Editorial Manager: Werner Treß Volume 3 Communism’s Jewish Question Jewish Issues in Communist Archives Edited and introduced by András Kovács An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License, as of February 23, 2017. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-041152-2 e-ISBN (PDF) 978-3-11-041159-1 e-ISBN (EPUB) 978-3-11-041163-8 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover illustration: Presidium, Israelite National Assembly on February 20-21, 1950, Budapest (pho- tographer unknown), Archive “Az Izraelita Országos Gyűlés fényképalbuma” Typesetting:
    [Show full text]
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • A History of Modern Palestine
    A HISTORY OF MODERN PALESTINE Ilan Pappe’s history of modern Palestine has been updated to include the dramatic events of the s and the early twenty-first century. These years, which began with a sense of optimism, as the Oslo peace accord was being negotiated, culminated in the second intifada and the increase of militancy on both sides. Pappe explains the reasons for the failure of Oslo and the two-state solution, and reflects upon life thereafter as the Palestinians and Israelis battle it out under the shadow of the wall of separation. I P is Senior Lecturer in Political Science at the University of Haifa in Israel. He has written extensively on the politics of the Middle East, and is well known for his revisionist interpretation of Israel’s history. His books include The Making of the Arab–Israeli Conflict, – (/) and The Modern Middle East (). A HISTORY OF MODERN PALESTINE One Land, Two Peoples ILAN PAPPE University of Haifa, Israel CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press The Edinburgh Building, Cambridge, CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521683159 © Ilan Pappe 2004, 2006 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Second edition 2006 7th printing 2013 Printed and bound in the United Kingdom by the MPG Books Group A catalog record for this publication is available from the British Library.
    [Show full text]
  • 2020-Hatikvah-Platform-And-Slate.Pdf
    WWW.HATIKVAHSLATE.NET | TEXT “HATIKVAH” TO 474747 Vote for the Hatikvah Slate to Support a Democratic Jewish State! OUR PLATFORM We are inspired by Israel’s Declaration of Independence We stand with Israelis demanding the protection of the –which proclaimed the State “will be based on the rights of women, including equal pay for equal work, precepts of liberty, justice and peace as taught by the equal opportunity in politics, an end to enforced Prophets; and will uphold the full social and political segregation, and an end to discrimination against equality of all its citizens, without distinction of race, women’s full participation in public events, both military creed, or sex; and will guarantee full freedom of and civilian. conscience worship, education and culture.” Our commitment is to democracy and the rule of law, We stand with Israelis fighting against vigilante “modesty believing that all citizens of the State of Israel must be patrols” and other acts of harassment against women. treated equally, and their civil and human rights protected. We oppose policies of discrimination, fear, We stand with Israelis that welcome asylum seekers, treat and tribalism. foreign workers with the dignity that they deserve, and fight against racism in their society, be it against Jews of We fiercely oppose the current policy of permanent color or people of other faiths. occupation and annexation. It is unjust and will end Israel’s democracy. The occupation is sustained by We stand with Israelis striving to ensure full legal and ongoing policies of repression that only serve to social equality for the LGBTQ community, including exacerbate conflict and require daily violence to marriage rights.
    [Show full text]
  • “Hatikvah:” One of the Greatest Anthems Ever Written
    “Hatikvah:” One of the Greatest Anthems Ever Written As we approach Israel at 70, it is appropriate to consider the country’s national anthem, “Hatikvah,” a famous piece of music that was not officially adopted as the country’s anthem until 2004. There are other surprises connected to this piece. Most notably, the music is not original, and the words were penned, more than 130 years before they became the anthem, by a troubled poet who died in utter poverty in New York City in 1909. The melody of “Hatikvah” comes from no one source. Samuel Cohen (1870-1940), a Zionist who emigrated to Palestine in 1888, had read Naftali Herz Imber’s poem, “Tikvatenu,” and was inspired to set the words to music. He did not compose an original melody, however, noting, as translated by the music scholar Edwin Seroussi, “In my home country [in northwest Rumania today], we used to sing in the choir the Rumanian song ‘Hâis, cea!’ (‘Right, Left!’ which was the refrain of a song entitled ‘Carul cu Boi’).” Indeed, the melody of “Hatikvah” was inspired by Eastern European folk music. Its pattern is familiar to singers and scholars, and finds its way into many European songs and instrumental music. In sum, it is an old melody that originated somewhere in Europe and made its way to Palestine. That is the dynamic and destiny of many melodies: they travel. The music for America’s anthem, “The Star-Spangled Banner,” for example, has its origins in a British drinking song. Although we can’t source the melody, we certainly know who wrote the words.
    [Show full text]
  • Dictionary of Palestinian Political Terms
    Dictionary of Palestinian Political Terms PASSIA Palestinian Academic Society for the Study of International Affairs, Jerusalem PASSIA, the Palestinian Academic Society for the Study of International Affairs, is an Arab, non-profit Palestinian institution with a financially and legally indepen- dent status. It is not affiliated with any government, political party or organization. PASSIA seeks to present the Question of Palestine in its national, Arab and interna- tional contexts through academic research, dialogue and publication. PASSIA endeavors that research undertaken under its auspices be specialized, scientific and objective and that its symposia and workshops, whether interna- tional or intra-Palestinian, be open, self-critical and conducted in a spirit of har- mony and cooperation. Copyright PASSIA 3rd updated and revised edition, December 2019 ISBN: 978-9950-305-52-6 PASSIA Publication 2019 Tel.: 02-6264426 | Fax: 02-6282819 E-mail: [email protected] Website: www.passia.org PO Box 19545, Jerusalem Contents Abbreviations ……………………………………………………………………………………………. i Foreword …………………………………………………………………….….…………..……………. iii Dictionary A-Z ………………………………………………………………………….………………. 1 Main References Cited…………………………………………..……………………………… 199 Abbreviations ACRI Association for Civil Rights in PCBS Palestinian Central Bureau of Israel Statistics AD Anno Domini PFLP Popular Front for the Liberation AIPAC American Israel Public Affairs of Palestine Committee PFLP-GC Popular Front for the Liberation ALF Arab Liberation Front of Palestine – General ANM
    [Show full text]
  • Şirin Payzın
    8TL ŞUBAT-MART 2015 ŞUBAT-MART 42. SAYI 22 yıllık birikimin ekrana yansıması ŞiRiN PaYZıN İMZA: “BY ESTİ” JOSEPH M. HEDY SCHİLLİNGER SCHLEİFER 20. Yüzyılda “Bağlantı Rönesans Mucizesi” AH BEYOĞLU, METROPOL VAH BEYOĞLU STİLLERİ RENÉE LEVİ Yolları kesişen Sibel Sergisi YAZAR, BESTECİ, FİLM YAPIMCISI 1 KEMER COUNTRY’DE KEMER COUNTRY’DE KEMER COUNTRY’DE 7 ODA 2 SALON 800 M2 5 ODA 2 SALON 500 M2 ÇOK ŞIK BAKIMLI 5 ODA 2 SALON TAM MÜSTAKİL VİLLA. TAM MÜSTAKİL VİLLA. 450 M2 MÜSTAKİL VİLLA. 5.000.000 USD 3.750.000 USD 3.150.000 USD KEMER COUNTRY’DE KEMERBURGAZ KEMERBURGAZ 6 ODA 1 SALON 450 M2 PANORAMA VİLLALARIN’DA PANORAMA EVLERİ’NDE TAM MÜSTAKİL VİLLA. TAM MÜSTAKİL 6 ODA 2 SALON 5 ODA 2 SALON 350 M2 3.000.000 USD 800 M2 VİLLA. 3.750.000 USD ÇATI DUBLEKSİ. 1.100.000 USD 2 KEMERBURGAZ KEMERBURGAZ KEMER CORNER SİTESİ’NDE ALTINTAŞ EVLERİ’NDE ARKETİP EVLERİ’NDE FERAH 2 ODA 1 SALON 4 ODA 1 SALON 250 M2 VİLLA. KÖŞE KONUMLU 3 ODA 1 SALON 152 M2 BAHÇE KATI. 920.000 USD 185M2 BAHÇE KATI. 475.000 USD 560.000 USD KEMERBURGAZ KEMERBURGAZ KEMERBURGAZ MESA YANKI EVLERİ’NDE ARKETİP EVLERİ’NDE GÖKMAHAL SİTESİ’NDE 2 ODA 1 SALON 110 M2 ARA KAT. BÜYÜK TERASLI PANJURLU 1 ODA 1 SALON +1 HİZMETLİ ODALI 400.000 USD 3 ODA 1 SALON 180 M2 DAİRE. DAİRE 535.000 TL 570.000 USD 3 4 5 Editörden... Sevgili okurlar, Şubat dergimizin kapağındaki hanıme- fendiyi tanımayanınız yoktur her halde. CNN’de gün- demin tartışıldığı “Ne oluyor?” adlı programı ile haftanın birkaç gecesi bizleri ekrana bağlayan Şirin Payzın bu ay Dergi’ye konuk oldu.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Yiddish Songs of The
    UNIVERSITY OF CALIFORNIA Los Angeles Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Bret Charles Werb 2014 Copyright © Bret Charles Werb 2014 ABSTRACT OF THE DISSERTATION Yiddish Songs of the Shoah A Source Study Based on the Collections of Shmerke Kaczerginski by Bret Charles Werb Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2014 Professor Timothy Rice, Chair This study examines the repertoire of Yiddish-language Shoah (or Holocaust) songs prepared for publication between the years 1945 and 1949, focusing its attention on the work of the most influential individual song collector, Shmerke Kaczerginski (1908-1954). Although a number of initiatives to preserve the “sung folklore” of the Nazi ghettos and camps were undertaken soon after the end of the Second World War, Kaczerginski’s magnum opus, the anthology Lider fun di getos un lagern (Songs of the Ghettos and Camps), published in New York in 1948, remains unsurpassed to this day as a resource for research in the field of Jewish folk and popular music of the Holocaust period. ii Chapter one of the dissertation recounts Kaczerginski’s life story, from his underprivileged childhood in Vilna, Imperial Russia (present-day Vilnius, Lithuania), to his tragic early death in Argentina. It details his political, social and literary development, his wartime involvement in ghetto cultural affairs and the underground resistance, and postwar sojourn from the Soviet sphere to the West. Kaczerginski’s formative years as a politically engaged poet and songwriter are shown to have underpinned his conviction that the repertoire of salvaged Shoah songs provided unique and authentic testimony to the Jewish experience of the war.
    [Show full text]
  • Hatikvah – the Real Story Behind Israel's Anthem
    MARKETPLACE SHLOMO MAITAL Hatikvah – The real story behind Israel’s anthem “WHEREVER YOU look at Hatikvah, ucator David Yellin, who founded the He- The British Ban: During the British Man- there is a story. Peel off the layers and you brew language committee, and later Leib date in Palestine, the Jewish radio station will see that not only is there an endless Matmon Cohen, headmaster of the Rishon was forbidden to play Hatikvah. So instead history, there is also a yearning for an eter- Hebrew School, changed those words to the radio played Smetana’s Die Moldau. nal future.” the ones we sing today. The words of Ha- The British could not blacklist a work of This is what concert pianist and musi- tikvah are actually a single complex sen- classical music. cologist Astrith Baltsan told Ilan Evyatar, tence with two clauses. writing in The Jerusalem Post, in 2010. Official Adoption: Not until November Baltsan wrote a book, “Hatikvah – Past, The Music: It is not true that the Hatikva 10, 2004 was Hatikvah adopted official- Present, Future,” and performs a fascinat- melody came from Smetana’s 1874 piece, ly as Israel’s national anthem, in the Flag, ing one-person show, “Hatikvah – A Hymn Die Moldau, played frequently on the radio Coat of Arms and National Anthem Law. is Born,” while at her piano. I was priv- and in concert halls. The Hatikvah melody The decisive vote in favor was cast by the ileged to see and hear it some years ago. has travelled the world for centuries, al- Druze Knesset Member Ayoub Kara, who Here are some of the stories surround- most like the Diaspora Jewry.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Jews, Music-Making, And
    UNIVERSITY OF CALIFORNIA Los Angeles Jews, Music-Making, and the Twentieth Century Maghrib A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Christopher Benno Silver 2017 © Copyright by Christopher Benno Silver 2017 ABSTRACT OF THE DISSERTATION Jews, Music-Making, and the Twentieth Century Maghrib by Christopher Benno Silver Doctor of Philosophy in History University of California, Los Angeles, 2017 Professor Sarah Abrevaya Stein, Chair From the early twentieth century and through at least mid-century, indigenous North African Jews came to play an outsized role as music-makers and music-purveyors across the Maghrib. In Morocco, Algeria, and Tunisia, all under French rule until the middle of the twentieth century, Jewish vocalists and instrumentalists, record label artistic directors and concessionaires, commercial agents, and sonic impresarios utilized the phonograph and recording technology to safeguard and promote traditional music –– described alternately as “Arab,” “Muslim,” and “Andalusian” –– and to pioneer popular musical forms mixed in style and language (often blending Arabic with French). Those forms produced an emerging realm of popular culture between World War I and World War II. ii Jewish prominence in music was challenged during the interwar period. That challenge emanated from a set of French officials and Muslim elites, who were uneasy with minority overrepresentation in a heritage increasingly considered in national terms and increasingly understood as the exclusive domain of the majority. With the fall of the French Third Republic and the rise of the Vichy Regime during the Second World War, Maghribi Jewish musicians in North Africa and those in metropolitan France were further sidelined and silenced –– although never completely.
    [Show full text]
  • Music and Memory at Liberation
    16 SOUTHERLY JOSEPH TOLTZ Music and Memory at Liberation How do we receive personal musical memories emerging out of the Holocaust experience? My question is addressed to that moment of individual hearing: to the intimate point where we encounter expe riences shared with us, where we are positioned as listener and witness. This article draws on a series of oral history interviews made in 2008 in Sydney with Jewish Holocaust survivors who parti - cipated in a project of documenting and preserving private musical experi ences and memories during the Nazi era. In presenting these cases, I am arguing for two considerations. First, I wish to advocate a scholarly model of care, of attentive listening to a wide variety of archival material, including living musical testimony of survivors. It is fairly uncontroversial to acknowledge that sonic experiences remain in memory and travel with us throughout our lives, pro - viding moments of nostalgia, evocations of past connections, ties to culture, friends and family, frames of reference. Is it confron- tational to extend this ability of our sonorous bodies to imagine that musical memories of dark, distant and difficult times continue to be embodied within and around us? Second, and more speci - fically, I wish to draw atten tion to the diversity of experiences at the point of liberation. The resonance of a musical memory awakens the fragility of an aporetic moment between oppression and freedom, where the testifier may allow themselves the space for doubt, uncertainty, questioning and absurdity. Holocaust testimony generally focusses on experiences of Jewish civilians entrapped in ghettos, labour and death camps.
    [Show full text]