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The Influence of Rap in the Arab Spring
Augsburg Honors Review Volume 6 Article 12 2013 The Influence of apr in the Arab Spring Samantha Cantrall Augsburg College Follow this and additional works at: https://idun.augsburg.edu/honors_review Part of the Political Science Commons Recommended Citation Cantrall, Samantha (2013) "The Influence of apr in the Arab Spring," Augsburg Honors Review: Vol. 6 , Article 12. Available at: https://idun.augsburg.edu/honors_review/vol6/iss1/12 This Article is brought to you for free and open access by the Undergraduate at Idun. It has been accepted for inclusion in Augsburg Honors Review by an authorized editor of Idun. For more information, please contact [email protected]. THE IruFLUENCE oF RAP IN THE AnAB SPRING ey SaHaANTHA Carurneu-AuGSBURc CollEGE Enculry Anvrson: Dn. Roeenr Srecrcr BSTRACT: Throughout history, music has been influential in social, reli- gious, and political disputes. In the early 21st century, change in the estab- order can be found in expressing the need for reform halfway around the world in the Middle East's Arab Spring. Rap artists such as El General (Tunisia), GAB (Libya), and Omar Offendum (Syria) used their talents to both spark and en- courage protestors during the early days of the Middle Eastern protests that began in late 2010; these protests have since been coined "The Arab Spring." The energy that could have been used to wield guns and bombs was instead poured into protest music that these and other artists produced during this time period. The relatively Western genre of rap music became integral in peaceful citizens protests happening all over the Middle East. -
Hip Hop from '48 Palestine
Social Text Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent Sunaina Maira and Magid Shihade This essay sheds light on the ways in which a particular group of Palestin- ian youth offers a critical perspective on national identity in the colonial present, using hip hop to stretch the boundaries of nation and articulate the notion of a present absence that refuses to disappear. The production of identity on the terrain of culture is always fraught in relation to issues of authenticity, displacement, indigeneity, and nationalism and no more so than in the ongoing history of settler colonialism in Palestine. In the last decade, underground hip hop produced by Palestinian youth has grown and become a significant element of a transnational Palestinian youth culture as well as an expression of political critique that has begun to infuse the global Palestinian rights movement. This music is linked to a larger phenomenon of cultural production by a Palestinian generation that has come of age listening to the sounds of rap, in Palestine as well as in the diaspora, and that has used hip hop to engage with the question of Palestinian self- determination and with the politics of Zionism, colonial- ism, and resistance. Our research focuses on hip hop produced by Palestinian youth within the 1948 borders of Israel, a site that reveals some of the most acute contradictions of nationalism, citizenship, and settler colonialism. Through hip hop, a new generation of “1948 Palestinians” is construct- ing national identities and historical narratives in the face of their ongoing erasure and repression.1 We argue that this Palestinian rap reimagines the geography of the nation, linking the experiences of “ ’48 Palestinians” to those in the Occupied Territories and in the diaspora, and producing an archive of censored histories. -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
FG Fingers Insecurity As Trigger for Rising Secessionist Agitations
Pope Urges IMF, W’Bank to Cut Poor Nations’ Debts Global agreement saved oil market, says OPEC Emmanuel Addeh in Abuja economic impact of the pope said the pandemic had Exporting Countries (OPEC) to stabilise it. international market." COVID-19 pandemic and give forced the world to come has told the International The Pope called for a new In the letter, the pope Pope Francis yesterday urged their governments a greater to terms with interrelated Monetary and Financial "global plan" that "necessarily noted that a spirit of global the International Monetary say in global-decision-making. socio-economic, ecological, Committee (IMFC) via Video- means giving poorer and less solidarity demands at the least Fund (IMF) and the World In a letter to the participants and political crises. conference that the global oil developed nations an effective a significant reduction in the Bank to cut the debt burden of the IMF and World Bank's This is coming as the market was on the verge of share in decision-making of poor countries hit by the annual spring meeting, the Organisation of the Petroleum collapse before its intervention and facilitating access to the Continued on page 10 Dangote, Flour Mills, BUA at War over New Sugar Refinery... Page 8 Friday 9 April, 2021 Vol 26. No 9497. Price: N250 www.thisdaylive.com T RU N TH & REASO Aisha is Presidency’s Voice of Conscience, Says Tinubu Osinbajo: She is an unusual first lady Raises N150m at biography presentation Deji Elumoye in Abuja described the First Lady, Mrs. in the presidency. Both spoke at the public presentation of the and Women Affairs, Dr. -
Identity, Diaspora, and Resistance in Palestinian Hip-Hop Chapter Author(S): Randa Safieh
Indiana University Press Chapter Title: Identity, Diaspora, and Resistance in Palestinian Hip-Hop Chapter Author(s): Randa Safieh Book Title: Palestinian Music and Song Book Subtitle: Expression and Resistance since 1900 Book Editor(s): Moslih Kanaaneh, Stig-Magnus Thorsén, Heather Bursheh, David A. McDonald Published by: Indiana University Press. (2013) Stable URL: https://www.jstor.org/stable/j.ctt16gzf3q.10 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Palestinian Music and Song This content downloaded from 92.16.163.209 on Mon, 15 Jul 2019 07:35:27 UTC All use subject to https://about.jstor.org/terms Part 2 Identity This content downloaded from 92.16.163.209 on Mon, 15 Jul 2019 07:35:27 UTC All use subject to https://about.jstor.org/terms This page intentionally left blank This content downloaded from 92.16.163.209 on Mon, 15 Jul 2019 07:35:27 UTC All use subject to https://about.jstor.org/terms 4 Identity, Diaspora, and Resistance in Palestinian Hip- Hop Randa Safieh The Inception of Palestinian Hip- Hop Since the late 1990s Palestinian hip- hop has developed as a national and cultural phenomenon. -
Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent
Social Text View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by FADA - Birzeit University Hip Hop from ’48 Palestine Youth, Music, and the Present/Absent Sunaina Maira and Magid Shihade This essay sheds light on the ways in which a particular group of Palestin- ian youth offers a critical perspective on national identity in the colonial present, using hip hop to stretch the boundaries of nation and articulate the notion of a present absence that refuses to disappear. The production of identity on the terrain of culture is always fraught in relation to issues of authenticity, displacement, indigeneity, and nationalism and no more so than in the ongoing history of settler colonialism in Palestine. In the last decade, underground hip hop produced by Palestinian youth has grown and become a significant element of a transnational Palestinian youth culture as well as an expression of political critique that has begun to infuse the global Palestinian rights movement. This music is linked to a larger phenomenon of cultural production by a Palestinian generation that has come of age listening to the sounds of rap, in Palestine as well as in the diaspora, and that has used hip hop to engage with the question of Palestinian self- determination and with the politics of Zionism, colonial- ism, and resistance. Our research focuses on hip hop produced by Palestinian youth within the 1948 borders of Israel, a site that reveals some of the most acute contradictions of nationalism, citizenship, and settler colonialism. Through hip hop, a new generation of “1948 Palestinians” is construct- ing national identities and historical narratives in the face of their ongoing erasure and repression.1 We argue that this Palestinian rap reimagines the geography of the nation, linking the experiences of “ ’48 Palestinians” to those in the Occupied Territories and in the diaspora, and producing an archive of censored histories. -
My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8. -
CUSTOMER DIGEST February
ee Fr Digest Extra Event in Pix #PledgeforParity CUSTOMERS’ DIGEST VOLUME 23 NO. 2 | FEBRUARY - MARCH, 2016 This digest is not for sale. It is a free publication from Access Bank. Outline Product Focus L-R: Victor Etuokwu (Executive Director, Personal Banking Division); Abraham Aziegbe (Group Head, Retail Operations Group); Uche Onyeigwe (Team Lead, Performance Analytics); Akeem Adesina (Group Lead story Head, Information Technology); Ojeifoh Okosun(Head, Contact Center) and Maryann Ezechukwu (Group Head, Personal Banking) pledging Product Focus SOLO ACCOUNT towards parity on Monday, March 8, 2016. Customer Speak Industry Trend Keeping Healthy Digest Extra Event in pix Solo Account is tailored after your Upcoming Event lifestyle. Whether you are a young adult in school, serving the nation Herbert Wigwe, Group Managing Director, Access Bank Plc (middle) with staff of Access Bank pledging for Gender Parity to celebrate 2016 Joke under the Youth National Corps or a International Women's Day on Monday, March 8, 2016. One Minute Tip young entrant. Solo account is the savings account designed to cater to In commemoration of the 2016 International Women's Day celebration, themed “Pledge your saving needs as well as provide a range of lifestyle services through for Parity”, Access Bank joined the global voice in promoting gender empowerment and L-R: Ebere Nwaolikpe, Assistant Marketing Manager, Western Union Money Transfer (WUMT); Ojeleye Babatunde, WUMT customer receiving the Accelerate platform. equality. This year's celebration is aimed at ensuring that men and women around the Money Gram/Western Union loyalty promo reward from Ola Isola, Group Fitch Ratings, a global leader in credit The Support ratings of the Bank also world, pledge and work towards achieving Gender Parity by 2030. -
Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY
Seilstad: Hip Hop Culture in a Small Moroccan City SMALL MORROCAN CITY . Hip Hop Culture in a Small Moroccan City Brian Seilstad This paper explores Hip Hop culture by tracing its development from the global level through the Arab world to finally its manifestation in Morocco. Hip Hop culture is defined broadly as a wide range of artistic expressions—rap, graffiti, breakdancing, DJing, etc.—and also a mind-set or way of life. The focus on the Moroccan context starts at the national level, pointing out some of the key artists, issues Moroccan Hip Hop faces, and how this has been explored by scholars of Hip Hop. The paper focuses on an ethnographic exploration of Hip Hop culture in Ifrane, a small Moroccan city. An analytic approach suggested in Patti Lather’s 1991 book Getting Smart informs and expands the paper particularly by privileging the emancipatory power of Moroccan Hip Hop, creating a nuanced view of the impact of Hip Hop on the lives of youth in this small community. Finally, the paper employs a self-reflexive stance to critically view the author’s own position in the research project in order to name some of the challenges and contradictions of a white male American doing Hip Hop research in the Moroccan context. I was a Peace Corps Volunteer in Morocco from 2005-2007. During that time, I worked in a small town, Amizmiz, near Marrakesh that I came to see as “normal” in terms of infrastructure, schools, and people. Of course, I am using the term “normal” here ironically as “normal” is one of language’s powerful tools for the creation and maintenance of arbitrary, and often oppressive, cultural values and practices.1 When I moved back to Morocco to work as Al Akhawayn University (AUI) in 2010, I lived in another small town near Fes named Ifrane. -
Beyond the Lyrics: Hip-Hop Practices and Palestinian Identity
Beyond the Lyrics: Hip-Hop Practices and Palestinian Identity Item Type text; Electronic Dissertation Authors Karaman, Alexander Kamal Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 17:32:27 Link to Item http://hdl.handle.net/10150/642061 BEYOND THE LYRICS: HIP-HOP PRACTICES AND PALESTINIAN IDENTITY FORMATION by Alexander Karaman ________________________________ Copyright Ó Alexander Karaman 2020 A Dissertation Submitted to the Faculty of the DEPARTMENT OF GENDER AND WOMEN’S STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 Acknowledgements This dissertation is the product of eight years in graduate school and fieldwork spread over five years in Israel-Palestine. Such a project would be impossible without the help of so many colleagues, friends, and family members who invested their time in mentoring and supporting me. First, my dissertation committee members are a fantastic team of scholars who have demonstrated what true mentorship mean in a world where individualism and competition too often guide our work. Miranda Joseph was instrumental in recruiting me to the University of Arizona and, as the Director of Graduate Studies, being an early advocate for me and so many other graduate students. Her feedback and willingness to hold me accountable while encouraging me forward helped me to see the importance and strength of my work. -
Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop David A
Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop David A. McDonald Figure 1. Invincible (Ilana Weaver) talking with her mother in her 2010 People Not Places video. (Screenshot by David McDonald) Channels of Rage Anat Halachmi’s acclaimed 2003 documentary, Channels of Rage, begins with a furious argument between two prominent Israeli hip hop groups: DAM, a Palestinian-Israeli crew from Lyd com- prised of Tamer Nafar, Suheil Nafar, and Mahmoud Jrere; and TACT, a collection of Jewish- Israeli rappers led by Subliminal (Kobi Shimoni) and Shadow (Yoav Eliasi). Meeting in a dark alley in Tel Aviv, the groups nearly come to blows over recent comments made by the two lead- ers, Tamer Nafar and Shimoni. Once collaborative and nurturing, the relationship between the two young rappers quickly dissolved as each began to embody contrasting political ideologies within the ongoing al-Aqsa intifada. Coming to terms with the violence on the streets of Tel Aviv and Jenin, both artists retreated from their once supportive relationship, based in a mutual love of hip hop, into the rigid, uncompromising nationalisms of Israel and Palestine. Yet if we look beyond the belligerence and hyper-masculinized posturing, we witness an insightful commentary on contemporary Israeli society at the outset of the al-Aqsa intifada. Refracted through the lives and experiences of these young hip hop artists, Halachmi’s film reveals the internal struggles young Israelis, Jewish and non-Jewish, faced during a profound TDR: The Drama Review 57:3 (T219) Fall 2013. ©2013 New York University and the Massachusetts Institute of Technology 69 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00280 by guest on 26 September 2021 moment of collective violence, trauma, and mourning. -
List of International Competitions 2021
List of International Competitions 2021 This document constitutes the list of International Competitions at which the Athletics Integrity Unit (AIU) will conduct Testing in 2021 (sorted by the category of competition). The list will be published on the AIU and World Athletics’ websites and may be updated or amended from time to time to take account of changes to the 2021 competition calendar arising from the current global pandemic 1. It also serves as the definitive list of International Competitions for the purposes of determining whether an Athlete is an International-Level Athlete pursuant to Rule 1.4.4(b) of the 2021 World Athletics Anti-Doping Rules 2 (2021 ADR) . WORLD ATHLETICS SERIES 2021 MAY 01-02 World Athletics Relays Silesia, POL AUG 17-22 World Athletics U20 Championships Nairobi, KEN WORLD ATHLETICS INDOOR TOUR 2021 (GOLD) JAN 29 Indoor Meeting - Karlsruhe Karlsruhe, GER FEB 02 27. Banskobystrická latka - High Jump Men Banská Bystrica, CZE 09 Meeting Hauts-de-France Pas-de-Calais Liévin, FRA 13 New Balance Indoor Grand Prix NY, USA 17 Copernicus Cup Torun, POL 24 Villa de Madrid Madrid, ESP WORLD ATHLETICS CROSS COUNTRY PERMITS 2021 San Giorgio su MAR 21 64°Campaccio-International Cross Country Legnano, ITA 28 89th Cinque Mulini San Vittore Olona, ITA APR 17 44th Almond Blossom Cross Country DATE TBC Albufeira, POR TBC TBC Cross de Atapuerca TBC Burgos, ESP TBC TBC Cross Internacional de Soria TBC Soria, ESP TBC TBC Cross Internacional de la Constitucion TBC Alcobendas, ESP TBC TBC Cross Internacional de Italica TBC Sevilla, ESP 1 This published list of International Competitions is without limitation to the AIU’s authority to conduct Testing at Competitions under Rule 5.1.3 2021 ADR.