权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

Music, the Palestinians, and the Missions of the West

音乐、巴勒斯坦人和西方传教士

基本信息

批准号：
AH/H005048/1
负责人：
Rachel Beckles Willson
金额：
$ 4.52万
依托单位：
Royal Holloway University of London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH005048%2F1
关键词：
Music Palestinians Missions West

项目摘要

Music, the Palestinians, and the Missions of the West' is a study of western classical music practices in Arab communities of Israel and Palestine. Examining recent investments made by European organisations such as the Barenboim-Said Foundation (a branch of the Andalusian regional government), it also considers initiatives led by local cultural figureheads, who have developed projects in Palestinian churches, schools, concert halls, and open air venues. I place the conflicted yet symbiotic relationship between Jewish and Arab communities at the heart of my analysis, but complement this with a longer historical view, also plotting the Christian introduction of western classical music to the region in the 19th and early 20th century. This extensive trajectory of European-Palestinian interactions through music offers a new perspective on the current situation, challenging both the duality of the regional conflict and European perspectives on strategies for helping with music.Western Classical Music among PalestiniansDrawing on six periods of fieldwork in Germany, Israel, Palestine and Spain since 2006, my study provides a first-hand account of the western classical music scene in Palestinian and Israeli Arab communities. In addition to observing numerous performances, rehearsals, teaching situations, and informal gatherings, I have interviewed most of the leading figures, funding bodies, and many participants involved. My ethnographic observations and interview materials are interwoven with commentary on a wide range of press articles and documentary films, presenting a multi-layered analysis of a practice that is understood by many to be new to Palestinians. I characterize it as both discourse and practice, because it must be understood in relation to the changing physical and social fabric of the Arab populations in Israel and Palestine, and to the opportunities and restrictions of life within, or alongside, a defensive and security-conscious Jewish state.Western Music as novelty?Organisations such as the Barenboim-Said Foundation promote their work as spiritually elevating, a life-line to children who otherwise know little other than violence, and (as a western cultural activity for Arabs) something completely unique in the region. My study challenges these claims not only with ethnographic research but also with historical documents from archives in England, Germany, Israel, and Palestine. I reveal that such statements actually build on a (broken) tradition of western cultural investment in and rhetoric about the region. In the 19th century and earlier 20th century, for instance, missionaries strove to 'rescue' the population from the barbaric Turkish regime and convert local Jews and Muslims to Christianity, and they used music as a tool in this process. I also demonstrate that substantial portions of the current musical scene in Palestine are indebted to people who attended (and whose parents and grandparents attended) such missionary schools, and who seek to foster the musical interests they absorbed.Western Music, colonisation and globalisationOne of the most distinctive features of the current situation of western classical music interest among Arab communities is its contested situation regarding national (Spanish, German, Palestinian, Israeli) and religious (Christian, Jewish, Muslim) positions. My account addresses the covert and overt agendas of the operative organisations, but also probes the ways that outsider-led projects can be identified as neocolonial on a transnational scale. By contextualising foreign 'music aid' within the (much criticised) sphere of NGOs, and locally-led music institutions within the competition of a field of competing artistic, political and religious institutions, I offer an analysis of a situation with roots deep in the history of the land that is simultaneously caughtup in the flow of a globalised world.

《音乐、巴勒斯坦人和西方的使命》是对以色列和巴勒斯坦阿拉伯社区的西方古典音乐实践的研究。研究了巴伦博伊姆-赛义德基金会（安达卢西亚地区政府的一个分支）等欧洲组织最近的投资，它还考虑了当地文化领袖领导的倡议，他们在巴勒斯坦教堂，学校，音乐霍尔斯和露天场地开发了项目。我把犹太人和阿拉伯人社区之间的冲突而共生的关系放在我分析的核心，但用更长的历史观点来补充这一点，还绘制了基督教在19世纪和世纪初将西方古典音乐引入该地区的情况。欧洲-巴勒斯坦通过音乐互动的广泛轨迹为当前局势提供了一个新的视角，挑战了地区冲突的双重性和欧洲对音乐援助战略的观点。巴勒斯坦人中的西方古典音乐借鉴自2006年以来在德国，以色列，巴勒斯坦和西班牙的六个时期的实地考察，我的研究提供了巴勒斯坦和以色列阿拉伯社区西方古典音乐场景的第一手资料。除了观察许多表演、排练、教学情况和非正式聚会外，我还采访了大多数领导人物、资助机构和许多参与者。我的人种学观察和采访材料与对各种报刊文章和纪录片的评论交织在一起，对许多人认为对巴勒斯坦人来说是新的做法进行了多层次的分析。我把它描述为话语和实践，因为它必须被理解为与以色列和巴勒斯坦的阿拉伯人口不断变化的物质和社会结构有关，以及与防御和安全意识的犹太国家内或旁边的生活机会和限制有关。西方音乐作为新奇？像巴伦博伊姆-赛义德基金会这样的组织宣传他们的工作是精神上的提升，是除了暴力之外几乎一无所知的儿童的生命线，并且（作为阿拉伯人的西方文化活动）是该地区完全独特的东西。我的研究不仅用人种学研究，而且用来自英国、德国、以色列和巴勒斯坦档案馆的历史文件来挑战这些说法。我发现，这种说法实际上是建立在一个（破碎）的传统，西方文化投资和有关该地区的言论。例如，在19世纪和20世纪初，传教士努力将民众从野蛮的土耳其政权中“拯救”出来，并使当地犹太人和穆斯林皈依基督教，他们在这一过程中使用音乐作为工具。我还证明，目前在巴勒斯坦的音乐舞台上的相当大的一部分是欠谁出席的人（和他们的父母和祖父母参加）这样的教会学校，谁寻求促进他们吸收的音乐兴趣。西方音乐，殖民化和全球化阿拉伯社区对西方古典音乐兴趣的现状最显著的特征之一是其在民族主义方面的争议。（西班牙，德国，巴勒斯坦，以色列）和宗教（基督教，犹太教，穆斯林）的立场。我的帐户地址的操作组织的隐蔽和公开的议程，但也探索的方式，可以确定为新殖民主义的跨国规模的商人领导的项目。通过将外国“音乐援助”置于非政府组织（备受批评）领域内，并在竞争艺术，政治和宗教机构的竞争领域内以当地为主导的音乐机构，我提供了一种分析，这种情况深深植根于这片土地的历史中，同时也陷入了全球化世界的流动中。