Reading Response 13

Looking at the Sabreen Center website and the Jerusalem Music Center website, they are both similar yet have subtle details that distinguish them. From what I can infer from the website, the Sabreen Center is community oriented and views Jerusalem as a city that should include all people. It seems focused on the child as a whole and education not only of music but of character. They show through their educational objectives and narratives from children that it is a way of creating a sense of importance for the local Palestinian people and its traditional music. The way the information is presented is very convincing, especially in the language that it uses. On the other hand, a much fancier website from the Jerusalem Music Center exhibits a different feeling. The JMC seems as if it was more proper and had more money to spend! The website focuses on "Israelis" and "Israeli Music". Although it doesn't explicitly say so, the website appears to cater to a certain class of wealthy Israelis. The title is in English and Hebrew, but not in Arabic. It does mention, however, in its objectives that it hopes to preserve Arabic music. Its goals are more in regards to finding talent and nurturing young people with a promising future. While reading the website, it is also convincing that it is a center based on cultivating young talent. 

Questions for Said Murad and David Broza:

1.       1. What challenges have you encountered being an Israeli working with mostly Palestinians?

2.       2. How do the children deal with their situation through music?

3.       3. How many children do you have? What ages are they?

4.       4. Have some of your students gone on to enter the West-Eastern Divan Orchesta?

Weblog Journal Assignment 6: Music

As I imagine it does for many other people, music plays an important role in my life. As a zumba instructor, my job is dependent on music. As a previous dancer, I had to pay close attention to the mood and tone of the song in order to communicate the emotions to the audience. Music can define who a person is based on the political message, the style or the time period. The type of music that I generally listen to is upbeat and has a positive message. I feel like these songs reflect my general mood. I enjoy all music, but I especially like music from other countries, specifically musical styles from Latin America. For many people, the type of music one listens to might speak to their national origins or their religious beliefs, but I grew up in the Midwest and the fact I identify mostly with a foreign country's music that I have never traveled to might seem odd. However, perhaps my desire to travel and my love of Spanish have led me to feel more connected to this type of music. Because I like to dance and 'fiesta' this type of music is appropriate.
In terms of music in conflict, it can play an important role in mobilizing people. It can connect a certain group of people to a single idea or belief in order to reach a common goal. It can also function as a coping mechanism of a marginalized group, as it as been utilized in the past.

Here are a couple songs I think everyone should know, regardless if he/she understands the lyrics or not!
This is my favorite song in Arabic:
http://www.youtube.com/watch?v=8NjZ-xKLGTY

My favorite Juanes song:
http://www.youtube.com/watch?v=ayCXeExyJxg&ob=av2n

Reading Response 12

There are two strong and distinct voices in “Sharon and My Mother-in-Law” by Suad Amiry and “Not the Mother of All Cities” by Galit Hasam-Rokem. I was laughing out loud while reading Amiry’s narrative of her experiences living in Ramallah. Even through the humor I could sense the seriousness of the situations she encountered. Humor is a way of coping with the frivolousness of certain circumstances. For instance, in the chapter about receiving the gas masks, the process of the Palestinians getting the masks was slow and unorganized. The way the Israelis had them constantly waiting in line seemed absurd and pointless, especially because they never got masks! The soldiers seemed to treat the Palestinians like children. I loved (because I felt I could hear her voice, not because of what the Israelis were doing) when Amiry said, “I don’t know what it is with Israeli soldiers. They all have a fetish for making Palestinians stand in an orderly line. They complicate our lives with all sorts of permits, make them unbearably chaotic, then insist we stand in straight lines” (89).   What a juxtaposition that creates. 

And again in the chapter “A Dog’s Life,” Amiry was able to create humor in an irritating situation. On page 112 she describes all of the different books on owning a dog that she bought- the titles are hilarious: “Admit Sleeping with you dog, Loving your Dog More than Your Husband, Can my Dog Become my Heir? Cheating on your Dog….My latest book was Growing up with a Lesbian Master” It makes me laugh especially hard because she is not a lesbian? After taking her new dog Nura to the Israeli vet to avoid the ‘sexist and racist’ Dr. Hisham, she again makes light of her nervous situation: “Looking up at the sign, I was relieved that Arabs were not considered animals” (113). It was incredible to learn about the way her dog was able to get a passport when most Palestinians are not. The ridiculousness of that situation was astounding. 

On a more serious note, I appreciated Rokem’s essay on Jerusalem. It is interesting to think of that city as a human being; we would never (or hopefully not) try to possess someone and own someone in that way that people try to do with Jerusalem. Because Jerusalem is so much to many people, Rokem discuss the “need to be her master” (53). Her powerful language not only speaks for the city but for women in general. I appreciate her statement, “Women of flesh and blood also deserve to be loved with less possessiveness and more equality” (54).  

Reading Response 11 (Noura's Thesis)

In Noura Dabdoub’s thesis titled “Homeland Redefined: Spaces of National Belongings,” she discusses the current Israeli-Palestinian conflict from the perspective of physical and emotional space and how the redefinition of this has the possibility to create peace in the region. She begins by explaining that for both the Palestinians and the Israelis, the concept of homeland is synonymous with exclusion.  Dabdoub states, “identities attached to the same land have continuously affirmed and institutionalized the exclusion of the “other” by perceiving the “other” as a threat to their connection to the land” (3). This sentiment is similar to that argued by Armstrong. Karen Armstrong stated that throughout the history of Jerusalem, one group has replaced another as sovereign. A reoccurring theme in the invasions and conquers has been exclusion and marginalization. Both Armstrong and Dabdoub point out that, despite the history of exclusion and violence, there were moments in the Middle East where Jews, Muslims and Christians were able to coexist in relative peace. Just because there is violence and unrest currently does not mean that it is not achievable.

Through Dadboub’s analysis of Zionism and Arab Nationalism and their ties to the ‘homeland,’ I am struck by her argument of redefinition in order to promote peace. She affirms that these two groups have an overlap in what land is considered ‘theirs’. In the thesis Dabdoub alludes to common teachings of both Israelis and Palestinians. She quotes Evan Weiss in saying that “Israeli children learn that in building that state, they encounter an unpredictable and irrational enemy, the Arabs…” (13). This exact concept is echoed by what is taught to the Palestinian children: “it is also inculcated in them that they have common struggles against a common enemy…the Jews” (18). These two parallel teachings continue to perpetuate the conflict. When at a young age children are taught to have an enemy, that is may become difficult to create peace- but not impossible. Through Dadboub’s explanation of homeland and identity, she affirms that homeland does not have to be restricted to a specific physical location. The identity of a group is rooted in its shared culture, language and history. A homeland serve a group by “providing a sense of collective community, attachment, identity and security” but it is not essential that this be under the political control of this group. I really appreciate Dabdoub’s affirmation that it is possible to coexist and both share the same homeland without excluding the other.  Cultural identity can be preserved without denying another. 

I am really glad that Noura got the chance to travel to Indiana University for the Living Jerusalem workshop on Oct. 12th sponsored by  the Center for the Study of the Middle East, The Jewish Studies Program, the American Folklore Society and the Department of Folklore and Ethnomusicology. It is an amazing opportunity to meet not only Noura and read her work but also influential intellectuals such as Salim Tamari and Galit Hasan-Rokem. This class not only gives us the chance to be exposed to ideas we rarely get a chance to explore, but it allows us to meet the people behind them. I am very grateful for the workshop and all of the sponsors who made it possible.

Outline of Final Project

Lila and I are continuing with our movie idea. We have spoken with UITS employees and have been reassured that our movie will work successfully.
In our movie we will:

* Discuss the three different religions in Jerusalem: Islam, Judaism and Christianity
* Analyze the followers of the three religions and their personal connections to Jerusalem
* Understand the correlation (if any) between an IU student's major and his or her knowledge of the conflict

Reading Response 10

After reading a bit from Parallels and Paradoxes and seeing the film Knowledge is the Beginning, I can begin to understand how these two influential men teamed up to help promote peace in the region. From every online website or biography on either Daniel Barenboim or Edward Said, it seems as though both of these men were extraordinary individuals that have a constant hunger to make a difference in many aspects of life. It was only a matter of time before they met each other and began as what many described a ‘passionate and intense’ friendship. I am amazed by both of their biographies and the many identities that they both have. While Barenboim is Argentine, Russian, Israeli and Jewish, Said is in many forms America, Palestinian, Egyptian, and Christian. It seems as though because both of these men possess multiple identities they are able to see the world as they do. Through their dialog in Parallels it shows their intense humility (very difficult with such credentials I can imagine) and also their ability to look at a situation such as the Israeli-Palestinian Conflict (or occupation, if you will) in a different way. For instance, in the first chapter, Edward Said says “There’s a lot of sentimentality about “homelands” that I don’t really care for” (4). If only every felt the same way. Barenboim also comments on this: “The sense of belonging to different cultures can only be enriching” (6). And once more, I must comment, wouldn’t things be easier if everyone felt this way too?! A project such as the Barenboim-Said foundation and the West-Eastern Divan orchestra had to have developed from minds such as these two. I think it’s a genius idea to create a youth orchestra with equal numbers of Palestinians and Israelis. Art is a universal language that connects all people. After reading the excerpts and information on them, I begin to understand how they were able to put their identities and opinions aside and form this project. It makes me think for a moment, ‘peace could be so easy!’. But then of course, it’s not. 

We were reminded by this after speaking with Jenna from Ramallah at the movie showing on Thursday. She had the exact opposite view of these two men. She was against normalization and the pretending as if everything is okay and happy. She said you travel to this setting and live in a bubble, then return to Israel/Palestine and relive the same problems that you already had. I can understand why she may feel this way, and of course I see things differently because I did not grow up in her situation. However, it really upset me to hear her opinions especially after seeing the film that gave me some sort of optimistic high. It really brought me back down to reality to realize how difficult this all is. I do want to ask her though, if she is against this sort of situation, I do not understand what she proposed instead then? Obviously something has to be done, and if she is not against this type of dialog, what can be done?! She says that it’s not helping anything, but can it really make the situation worse?! I would like to hear more from her about her ideas and what she would propose as an alternative. 

Questions to ask Mariam Said:
1. How involved were you in the process of beginning the Barenboim-Said Foundation?
2. Were you ever against this type of ‘normalization’? What do you propose as peace measures? 

Questions about Knowledge is the Beginning:
1. How has this project affected the lives of individual kids?
2. Have you begun to see the benefits of the project?
3. What has been the most rewarding aspect?
4. What has been the most challenging? 

More questions for Mariam:
1. How did you make the transition from the financial sector to helping run the Barenboim-Said Foundation?
2. What do you think is the most influential aspect of your husband’s work? 

Reading Response 9

I enjoyed both of the readings for today, Old and New Walls in Jerusalem by Menachem Klein and The Writing on the Walls: The Graffiti of the Intifada by Julie Peteet. While both of these article focus on the idea of the wall and its functions, Klein discusses the physical and imaginative walls that segregate the Israelis and the Palestinians, and Peteet is interested in the wall and the function of graffiti as a component of the Palestinian struggle. 

In Klein’s article Old and New Walls in Jerusalem, the author first explains the principal functions of walls. He says there are five different types, and the types of walls that are used for protection and shelter are not present in Jerusalem; rather, the walls found there are the excluding walls and walls of aggression (58). Klein also reinforces the idea that the walls serve as segregating agents. Hey  quotes Passi  saying, “Boundaries between ‘us’ and ‘others’ are critical elements in establishing ‘us’ and excluding ‘others’…boundaries become a part of everyday life and an identity narrative” (57). The difference between traditional walls and the walls that Klein refers to is that these walls further promote the differences between the two people and strengthen the idea of the ‘other’.  While reading Klein’s article, I am again surprised to discover all of the manipulative measures the Israeli government has succeeded in carrying out. Klein states, “The wall that Israel established, by virtue of its superior strength, was meant, by bureaucratic means, to contain and limit the weaker side’s demographic development and to perpetuate the stronger side’s domination” (63). Klein goes into more detail in regards to this statement and emphasizes the degrading procedures that the Palestinians are required to go through. For instance, to be able to cross between West and East Jerusalem Palestinians are required to go through several checkpoints that could take hours. The limited mobility only heightens anti-Israeli sentiment. 

I was fascinated by Peteet’s article on graffiti. I loved hearing the different examples and seeing some of the pictures she included. This article was especially interesting because in my bubble I had never thought about graffiti as more than an activity for kids who had nothing to do. When here we see graffiti we tend to automatically assume it is a gang symbol. In regards to the graffiti of the Palestinians, it became a powerful tool with many different purposes. Peteet says, “The Palestinian community thought “out loud” in graffiti” (141), and “Graffiti constituted a voice for those who felt voiceless in the international arena” (145). Some of the graffiti is resistance, as one would expect. However, I was surprised to find out that is it also a way of connecting the community, of communicating the news and other events, of informing, warning the population, resisting traditional cultural norms, and of commemorating martyrs. While the wall may segregate and dehumanize, as Klein mentioned, it also becomes an area for dialog and freedom. Furthermore, I was shocked to understand that because graffiti is illegal, many of the Palestinians who participate in the paintings will be beaten or even shot if they are caught, and many of the graffiti is painted over with black paint even minutes after it was just put up. For this reason, it becomes even more of a romanticized idea; these Palestinians will potentially risk their lives for a picture or painting that could last no more than a few hours. In the article, Peteet quotes a woman from Ramallah, “Of course, when I wake in the morning and see new graffiti I know that resistance continues. It tells me that people are risking their lives and that they live right here in this neighborhood” (151).  The community appreciates the graffiti and it becomes not only a way to connect the people and create solidarity, but it becomes entertainment. Some of the graffiti on the website was hilarious and laughable. I really enjoyed seeing pictures of it and seeing the diversity of themes that it dealt with. 

On the website, there was footage of part of a wall and the different graffiti there. One of the sayings caught my attention: “Give them justice and they will reward you with peace”. I thought this was a very curious statement and very distinct from other social and political movements throughout history. Most struggles are later commemorated for their non-violent nature. In contrast, the author of this graffiti believes that peace will only come once justice as served. He or she is clearly not afraid to use violence. 

Overall, the graffiti serves as not only beautiful artistic expression but it carries important and social and political meanings. In contrast to Klein’s analysis of the walls, these walls give the Palestinians a voice and help continue the social movement. The many different voices and opinions on these walls inspire dialog and stimulate political discussion while reflecting the variety of viewpoints among the Palestinians. I can’t help but wonder about graffiti and Israelis. They might not need graffiti as a way to speak their mind because they do not have the censorship that the Palestinians do. However, is graffiti still important on their side of the wall? Do they participate in this as a political act? What are their main themes? 

My friend AJ went to Israel/Palestine this summer and put a lot of cool pictures on facebook of some of the graffiti he saw. Here are a couple of the pictures. The last one makes me laugh a lot.