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Music and Conflict Resolution MUSIC AND CONFLICT RESOLUTION: ISRAELI-PALESTINIAN CONFLICT A MASTER’S THESIS SUBMITTED TO THE GRADUATE FACULTY LIBERTY UNIVERSITY BY TERESA LEE ENYART IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY April 27, 2018 Copyright April 27, 2018 by Teresa EnYart Acknowledgements First and foremost, I would like to thank Katherine Morehouse at Liberty University for accepting me into the Ethnomusicology program in a few years ago. The acceptance into this program came very timely in my life when I needed to move forward. Next, I would like to thank Harry Anastasiou at Portland State University. Several years ago, during my undergrad at Portland State, I took every one of Harry’s conflict resolution classes; and it’s from those classes that I have formulated and applied those concepts here in this thesis. I would further like to thank Harry for taking the time, twice in the past year, to sit down with me to discuss thoughts and ideas about conflict resolution. Also, to Jeffrey Meyer for being the primary reader of my thesis. Next, I would like to thank all the participants and those involved in my research. Starting with the founders of Ukuleles for Peace, Paul Moore and his wife Daphna Orion for immediately taking me under their wing the first week of my research in Israel. These two very kind individuals invited me into their home and personal lives and made me feel very welcome. I would like to thank every member of Ukuleles for Peace for allowing me to take part of your rehearsals for the two months I was there. This includes the parents of the members for not only allowing me into your home, but along with Paul and Daphna, saw to it that I got back and forth from the Hod HaSharon train station to the rehearsal every week. Second, I would like to thank Avi Gilboa at Bar-Ilan University for graciously and spontaneously fitting me into his schedule that day when I randomly showed up at his office; and thereafter, had been consistently faithful in helping me acquire the information that I needed from him. Next, I would like to Abigail Wood at Haifa University for networking on my behalf. This includes the Arab-Jewish Orchestra and its participating members: Taiseer Elias, Shehady Nassar, Sireen Elias, Samar Jacob, and Haima Sleman. Also, to Nizar Rohana for his help. i Many thanks to the Kassis family of Rama village in Upper Galilee who have always made me feel so welcome every time I come to Israel. I truly feel as if I am at home each time I return. I further thank them for allowing me to stay with them on the weekends and feeding me wonderful Arab food. In addition, to Maher, Tarek and Halim who sought out music contacts for me. Moving forward, I would like to thank my friend Ken who graciously took care of my dogs while I was in Israel and who humored me while I Skyped with my dogs. I would like to thank my family for their love and support that they have shown me through my education. I would especially like to thank my grandmother, Sigrid, who has always encouraged me to excel and has inspired me artistically. I would further like to thank her for sharing many aspects of her life with me, including her childhood memories of growing up in Germany during WWII. There were many things that she witnessed during the war including her father, my great-grandfather, as a Nazi SS officer who was a participant in Kristallnacht. In discussing these painful memories through the years, I also saw her adopt a Jewish surname for herself and shop at Jewish businesses. I viewed this as a way that she internally coped with whatever she felt or had experienced when she was a child. I can’t help but feel that a part of my interest and love for Israel has somehow stemmed from this. Having said that, I would like to dedicate this thesis to my best friend, my grandma, Sigrid. ii Psalm 150 Praise the Lord. Praise God in His sanctuary; praise Him in his mighty heavens. Praise Him for His acts of power; praise Him for His surpassing greatness. Praise Him with the sound of the trumpet, praise Him with the harp and lyre, praise Him with the strings and pipe, praise Him with the clash of cymbals praise Him with resounding cymbals. Let everything that has breath praise the Lord. Praise the Lord. iii Abstract Music in relation to peace and conflict, whether constructive or destructive, has had deep and profound effects that unite people based on commonality and shared interest. The Israeli- Palestinian conflict is no different when it comes to these two dichotomies. There are those who use music for protest to either escalate conflict or use it as a social and political platform. Then, there are those who use music for resolving their differences, to promote peacemaking and peacebuilding, further unifying and embracing the diversity that’s between them. The ethnographic approach that I took in this research gives insight and a perspective to those who may dismiss the ethnomusicological aspect to this topic of study. Understanding how music speaks in the context of a culture can also give insight to understanding a people. Once we gain this understanding, then we know how to approach them. Additionally, through my exploration of the construct of modern identity, I examine musical identity and how both can affect each other. Moving through these identities and addressing them can bridge the interethnic gap. The applied methods and theories behind such movements, as peacemaking and music, is what I have sought to explore in my research; further aiming to discover if there is anything tangible and sustainable in their attempt to build lasting relationships through music. iv Contents Chapter I: Introduction .............................................................................................. 1 Statement of Problem ................................................................................................. 1 Need for Study ........................................................................................................... 2 Research Questions .................................................................................................... 4 Glossary of Terms ...................................................................................................... 5 Defining Term: Musical Semiotics ..................................................................... 5 Defining Term: People of Interest ...................................................................... 6 Defining Term: Conflict Resolution/Transformation ......................................... 7 Defining Term: Empathy, Musicking, and Interfaith ......................................... 8 Participants in the Study ............................................................................................ 9 Ukuleles for Peace ............................................................................................... 10 Arab-Jewish Orchestra ......................................................................................... 11 Let’s Talk Music .................................................................................................. 12 Limitations of Study .................................................................................................. 13 Assumptions ............................................................................................................... 13 Chapter II: Methods, Themes, Literature Review ................................................... 15 Historical Context ...................................................................................................... 16 Identity and Nationalism ............................................................................................ 17 Identity and Music ..................................................................................................... 23 Protest Music ...................................................................................................... 28 v Musical Identity .................................................................................................. 30 Music and Peacemaking ............................................................................................ 32 Applied Methods and Concepts in Peacemaking ................................................ 38 Conclusion ................................................................................................................. 42 Chapter III: Methodology .......................................................................................... 45 Overview of Research Design ................................................................................... 45 Descriptions of Research Tools ................................................................................. 48 Fieldwork Procedures ................................................................................................ 49 Methods for Data Collection ...................................................................................... 49 Chapter IV: Research Findings .................................................................................. 51 Ukuleles for Peace ...................................................................................................... 52 Arab-Jewish Orchestra ................................................................................................ 58 Let’s Talk Music ......................................................................................................... 63 Answering the Research Questions
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