Central to this endeavor is the assertion that each of the above processes is best under- stood through the prism of context and social action, as performances of aesthetics and ideation. Following this, I trace the cultural repercussions of the war, al-nakba the catastrophe , on indigenous forms of Palestinian music making. In per- formance, specifically in musical performance, I believed I would find an essence of Palestinian identity that might fully capture widespread ex- periences of Israeli occupation, dispossession, and exile endemic to Pal- estinian life. Music, it seems, was a powerful means of reaching out to the Palestinian community, of nationalizing and defining resistance, and of forging political allegiances. Ethnomusicologists and folklorists have questioned the dia- lectics of consolidating and subverting power structures, exploring the many possibilities for musicians to fluidly redirect and resignify domi- nant signs and meanings in accord with their own interests. Situated within larger fields of meaning, these songs provide a truly fascinating historical record of the Palestinian condition as it has been conceptual- ized and embodied over the last eighty years. Throughout the research stages of this project Nihad spent count- less hours proofreading my translations, offering advice, critiquing and correcting my dialect, and sharing stories and experiences of her child- hood living as a Palestinian refugee in Kuwait during the First Gulf War. I am also grateful for the editorial efforts of Jeffrey Culang and Haya Bar-Itzhak, who painstakingly went over the many transliterations contained in the appendix of this text.

And I am curi- ous if you can tell me what the answer is. In so doing, these re- searchers have pursued a new direction of ethnographic inquiry, placing emphasis on the processual, the ephemeral, and the performative. Ini- tially Jordan was my primary field site due to its having the largest Pales- tinian refugee population in the world. Wrinkles stretch across his tanned cheeks. The life and career of the famous poet Nuh Ibrahim and his influence on the Great Revolt is explored with particular detail, emphasizing his overall impact in fostering support for the rebellion and nationalizing a rural population of indigenous falldhin peasantry to rise up against the British colonial administration. Given that our meetings rarely began be- fore 8: This young cadre of Palestinian Israeli rappers, making a name for themselves as Palestine’s first rap group, freely draws from the identity construct of the empowered subaltern as manifested in the legacy of Tupac Shakur in fashioning their own repertory of hip- hop against the occupation and the ethnic marginalization of Palestinian citizens of Israel.

kol awladi episode 88 la

As the popularity and influence of resis- tance songs ebb and flow, coming into and out of fashion, what does this say about the nature of resistance mol at times of state building when very little active and organized fighting is taking place?

How- ever, the evia project is much more than simply a digital archive.

Performativity, a term arising from within linguistics yet applied so beautifully in the gender theory of Judith Butler, epusode of central concern to this discussion, for it problematizes conventional understandings of be- longing and identity, by focusing on the very production of selves as ma- terial effects of these identification processes. This young cadre of Palestinian Israeli rappers, making a name for themselves as Palestine’s first rap group, freely draws from the identity construct of the empowered subaltern as manifested in the legacy of Tupac Shakur in fashioning their own repertory of hip- hop against the occupation and the ethnic marginalization of Palestinian citizens of Israel.


Those who wish to access the evia project collections must first create a free account by clicking “enter the archive” and then clicking the login button, which opens the “create an account” page where they may register with the evia project.

Drawing from folklore studies, sociolinguistics, and cognitive psychology, ethno- musicologists spisode shown that music, as social process, is best under- stood within its various frames of articulation. Because I must own Palestine! They have stolen our land [stomp], forced us out of our homes [stomp], but our culture is something they cannot steal. Throughout I have attempted to provide transliterations of popular song texts, poetry, dialogue, episoe commentary that remain legible to the reader while pre- serving essential aspects of dialect, accent, and inflection.

The uncomfortable silence that has gripped the room is then broken.

kol awladi episode 88 la

Synopsis This book is conceptualized in two distinct yet interrelated sections: Her tutelage and friendship served to benefit aeladi project in innumer- able ways, bringing to light an often-neglected story of Palestinian history and exile. They are texts— things to be read and interpreted within awpadi frames of class, ethnicity, religion, and so forth.

But beyond Foucauldian con- cerns with what makes us who we are amidst conflicting and competing power relations, there remains an essential discussion to be had at the level of affect.

My search for the unified “voices of the masses,” struggling to resist Israeli occupation and forced exile, resulted in nothing more than an odd collection of propagandized tropes and imagery shouted across myriad political, economic, and reli- gious divides.

Making my way through the crowds to the main gate of the ruins with my friend, I noticed a small group of young episoode sitting together on a blanket singing with an older relative, perhaps a awlari aunt or grand- mother.

In ethnomusicology this task involves conversations of a different sort, seek- ing out the iconicities of social structure and music performance. I adopted the same approach for the one Hebrew transliteration in this text as well. Since the cata- strophic loss of the West Bank and Gaza Strip to Israeli forces in the June War ofmillions of Palestinians have lived under foreign occupa- tion, without citizenship, without civil liberties, without rights to self- determination.

Under stiff British mili- tary occupation, songs performed at local events provided an important forum for political discussion outside the reach of colonial censorship.

If you listen all he talks about is the ghetto, revolution, politics. Activism in its myriad forms, political, social, economic, and cultural, permeated both native Jordanian and Palestinian Jordanian communities. Artists build on and dialogue with the established repertories of the past. The Palestinian-Jordanian civil war Black September and the massacres at Sabra and Shatila are then discussed with regards to their influence on Palestinian poetics and cultural production.


Small makeshift grills roasted kabobs in the summer sun as groups of men and women sat in relaxed conversation. Performing the Nation in Exile “Just watch. For while the his- torical narrative presented in chapters was written as a chronology, it was derived entirely from ethnographic methods: Shielded by my American passport and Irish complexion, I visited the ancestral villages of several of my close friends, bringing back pictures, mementos, or bags of soil keepsakes of Palestine for their homes.

A well-managed tourist center and excellent fine-dining restaurant have earned Umm Qais the reputation of a must-see destination for any tourist visiting the kingdom. Tamer Nafar figure 8. More koll a year later, on a return trip to Jordan, I began working with al-Ashiqin as they began performing once again in support of the second intifada.

Although many in the crowd were unfamiliar with hip-hop — its sounds, rhythms, dances, and practices— dam’s much-awaited performance in Ramallah spoke volumes about the potential impact of rap on Palestinian youth culture and politics. It was documented that he shied away from performing in other popular dance-dominated dabke song-types such as the ‘ala dafuna,ya zarifal-tul, al-ghazali, or al-jafrd as they were too limited for his purposes and far too rhythmic for the kind of response he hoped to engender.

Many of the more famous songs of this period, however, have survived through continued performance and widespread popularity see below.

Rather he defines Palestine by the terrain of subaltern resistance to racialized oppression and state injustice. Through careful musical and textual analysis I explore many of the dominant signs, myths, and meanings inherent to this repertory, deconstructing the in- dexical associations that constitute the poetics of Palestinian national- ism and resistance.

To resist the occupation takes on drastically different connotations as one moves through time and space between various Palestinian communities. Accord- ingly Ibrahim adapted his poetry to include Palestinian colloquial lan- guage, a thick rural accent, and indigenous poetic song-types and per- formance practices.

As music is made manifest in the articulation and interaction of participants within a socially constituted performance en- vironment, so, too, are nations themselves products, or effects, of a perfor- mativity of ideation framed within discourses of power and agency. Among the rural fallahin peasantryfolk songs were a powerful tool for mobilizing the masses in support of the labor boycotts and the armed conflict against British forces.

Throughout this fieldwork it was my hope that such an approach would provide a more meaningful middle ground between journalistic obser- vation and source material analysis, infusing each with an ethnographic “sense of being”: Nuh Ibrahim’s strategic use of indigenous Palestinian folk song in- volved two predominant musico-poetic formats: It is with the performativity of belonging that the above artists are most concerned.

After several months of working and performing in Jordan, it became apparent that I would need new data sets from musicians active in the West Bank.

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