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Liminal Politics: Nation, Gender, and Leisure in the "alternative" Palestinian Music Scene

阈限政治：“另类”巴勒斯坦音乐场景中的民族、性别和休闲

基本信息

批准号：
ES/S011773/1
负责人：
Polly Withers
金额：
$ 12.79万
依托单位：
London School of Economics and Political Science
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2018
资助国家：
英国
起止时间：
2018 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=ES%2FS011773%2F1
关键词：
Liminal Politics Nation Gender Leisure

项目摘要

"I don't care where you're from; where you at?" sing 47Soul on their 2015 single "Don't Care Where You From". Comprised of four Palestinian men, their words stress outlook - rather than location - is what matters when forming personal and collective identities. Mapping subjectivities beyond the nation, their lyrics galvanise a music scene proliferating among Palestinian youth. Spread across the Levant, and sometimes showcased internationally, this self-titled "alternative" community defies rigid categorisation. Those networked to it fuse local Arabic repertoires, with global electronic, reggae, and hip-hop beats, to produce a 'new' genre. Research on Palestinian popular music, however, normally presents Palestinian music through two frames: as folkloric identity, or as national resistance. This literature focuses on hip-hop cultures, despite the fact that musicians make many different types of music (e.g. glitch, techno, trip-hop, reggae, psy-trance, shamstep, electro-dabke). In these works, rap is presented as a tool youth use to resist Israeli occupation, and/or build national identities. My research offers a different interpretation of Palestinian popular music that critiques these straightjackets. Moving beyond dominant representations of Palestinian art, it considers when music may not be about national protest, or resistance identities. The research stems from two years qualitative fieldwork (2012, 2014, 2017-2018) in four different cities with large Palestinian communities: Jerusalem (oPt), Ramallah (oPt), Amman (the Jordanian capital and home to many Palestinian refugees), and Haifa (a Palestinian-majority town in modern-day Israel). Focused on the contemporary moment, it draws on 100 interviews with young musicians, DJs, and their fans, and 200 participant observations at the concerts, parties, and bars they frequent. It explores how and in what way youth negotiate 'everyday' social and political power structures through music.My findings show that the music looks different in distinct contexts. Locally, many young adults are fed up. The 1993 Oslo Peace Process has not delivered peace, and trust in the national leadership is at an all-time low. Many youth use music to express frustration with what they perceive to be the political elite's hollowing out of the Palestinian national movement for liberation. Instead of using their work to convey nationalist sentiments, they deploy it to reject top-down nationalisms. However, while political content is foreground, it is not the only issue youth are concerned with. Reluctant to have their music appreciated only because it is Palestinian - rather than because it sounds good - many emphasise that they are musicians who "happen to be" Palestinian, rather than Palestinian musicians. Music, they claim, is a source of fun; they use it to flout various gendered orders (e.g. holding music parties where alcohol, drugs, flirting, and dancing takes place).Analysing Palestinian performances in non-local spaces reveals a different picture. When musicians perform in London, they are "branded" in particular ways. Their self-representations, or the representations their international hosts circulate of them, privilege identities distanced from locally. This happens in two ways: 'world' music events present musicians as 'exotic others', or solidarity networks confine them to national frameworks. This points to links in 'race' discourse, capitalism, and music labelled 'political'/'world' as it travels.The project makes two arguments. First, scene members perform unconventional identities beyond dominant norms through music. Second, geopolitical power often shapes how Palestinian music travels. Critically positioning cultural production in the transnational contexts that inform, and are informed by, such aesthetic practices, this study situates Palestinian music beyond narrow national perspectives, to ask instead what its circulation reveals about translocal power structures.

“我不在乎你来自哪里，你在哪里？47 Soul在2015年的单曲《Don 't Care Where You From》中演唱。由四名巴勒斯坦男子组成，他们的话强调前景-而不是位置-是形成个人和集体身份时的重要因素。他们的歌词描绘了国家之外的主观性，激发了巴勒斯坦青年中激增的音乐场景。这个自称“另类”的社区遍布黎凡特，有时在国际上展示，无视严格的分类。那些与它联网的人将当地的阿拉伯曲目与全球电子，雷鬼和嘻哈节拍融合在一起，产生了一种“新”的流派。然而，对巴勒斯坦流行音乐的研究通常通过两个框架来呈现巴勒斯坦音乐：民俗身份或民族抵抗。这些文献集中于嘻哈文化，尽管事实上，音乐家们制作了许多不同类型的音乐（例如，故障，电子，trip-hop，雷鬼，psy-trance，shamstep，electro-dabke）。在这些作品中，说唱被作为年轻人用来抵抗以色列占领和/或建立民族认同的工具。我的研究对巴勒斯坦流行音乐提供了不同的解释，批评这些紧身衣。超越巴勒斯坦艺术的主导代表，它认为音乐可能不是关于民族抗议或抵抗身份。这项研究源于两年的定性实地调查（2012年，2014年，2017-2018年），在四个不同的城市与大型巴勒斯坦社区：耶路撒冷（oPt），拉马拉（oPt），安曼（约旦首都和许多巴勒斯坦难民的家园）和海法（现代以色列的巴勒斯坦人占多数的城镇）。它关注当代时刻，对年轻音乐家，DJ和他们的粉丝进行了100次采访，并在他们经常光顾的音乐会，派对和酒吧进行了200次参与观察。它探讨了年轻人如何以及以何种方式通过音乐来谈判“日常”社会和政治权力结构。我的研究结果表明，音乐在不同的背景下看起来不同。在当地，许多年轻人受够了。1993年的奥斯陆和平进程没有带来和平，对国家领导人的信任处于历史最低点。许多年轻人用音乐来表达他们对政治精英掏空巴勒斯坦民族解放运动的不满。他们不是用自己的作品来传达民族主义情绪，而是用它来拒绝自上而下的民族主义。然而，虽然政治内容是前景，但这并不是青年关心的唯一问题。许多人不愿意让人们欣赏他们的音乐，只是因为它是巴勒斯坦的--而不是因为它听起来不错--他们强调他们是“碰巧是”巴勒斯坦的音乐家，而不是巴勒斯坦音乐家。他们声称音乐是乐趣的源泉;他们用音乐来蔑视各种性别秩序（例如举行音乐派对，其中有酒精、毒品、调情和跳舞），分析巴勒斯坦人在非当地空间的表演，揭示了一幅不同的画面。当音乐家们在伦敦演出时，他们会以特定的方式被“打上烙印”。他们的自我表现，或者他们的国际东道主传播的表现，使他们的身份与当地保持距离。这种情况发生在两个方面：“世界”音乐活动将音乐家视为“异国情调的其他人”，或者团结网络将他们限制在国家框架内。这指向了“种族”话语、资本主义和音乐之间的联系，这些联系在传播过程中被贴上了“政治”/“世界”的标签。首先，现场成员通过音乐表现出超越主流规范的非传统身份。其次，地缘政治力量往往决定了巴勒斯坦音乐的传播方式。批判性地定位文化生产的跨国背景下，通知，并告知，这种审美的做法，这项研究的巴勒斯坦音乐超越狭隘的民族观点，而是问它的流通揭示了跨地方的权力结构。