Questions of National Identity in Palestinian Hip-Hop 2010 to 2021

2010 年至 2021 年巴勒斯坦嘻哈音乐中的民族认同问题

• 批准号: 2879630
• 金额: --
• 依托单位: Birmingham City University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2879630
• 关键词: Questions; National; Identity; Palestinian; Hip

This project explores an emerging form of popular music, derived from African American hip-hop, which is increasingly a voice for young Palestinians in the West Bank, Gaza, Israel and the wider Palestinian diaspora in the twenty-first century. This research accounts for the way different Palestinian artists use hip-hop as a means of creating collective political visions of Palestine. In the uprising of May 2021 one could hear Daboor & ShabJadeed's track 'Inn Ann' in Almanara Square in Ramallah, shopping malls in Nablus, and in the Lebanese civil protests of 2021.Research into Palestinian Music has most often focused on folklore and heritage, and the relationship between music and resistance (cf Barghouthi 2013, Kanaaneh 2013), or biographies of the first Palestinian hip-hop band, DAM (Maria and Shihade 2012, Withers 2018, McDonald 2013). Further, McDonald's (2013) research into Palestinian hip-hop frames it within the binaries of cultural resistance as an alternative to armed resistance embraced by the PLO from 1964-1989, while Maira and Shihade (2012) present a more geopolitical and sociocultural analysis for hip-hop in Palestine, but both remain limited because they focus just on DAM. Neither study tackles the question of how hip-hop is used to articulate collective visions of Palestinian identity.Furthermore, we lack historically- and culturally-located studies of this influential music within the contemporary Palestinian context. By paying attention to a larger group of artists, in the inter-Palestinian context, I will examine the visions articulated by music-makers in the Palestinian cultural scene. The study is guided by a key research question:How did Palestinian hip-hop artists use their music as a vehicle for articulating a collective political vision of Palestinian identity and nationhood during the period 2010 to 2021?This raises subsidiary questions:What cultural practices and role do these artists and their music take in Palestinian society?What political visions are represented in these works?What senses of cultural identity and nationhood are utilised and how do they relate to wider discourses of Palestinian liberation?The research draws upon cultural studies approaches to popular music combined with ethnomusicological methods for the study of diasporal music cultures. I avoid the simple biographical approaches common in the studies of musicians and the tendency to emphasise fandom, following Hebdige (1979), in popular music studies.Instead, I draw upon ethnographic interview to explore the discourses used by the artists in articulating the role of their music, along with the analysis of the lyrics and music. From Grazian (2003) ethnography to study the significance of space, but applied to cultures of production, from Gilroy (2002) the idea of diasporic cultures and African American music outside the USA, and from Hall (1981) the politics of the popular. Ethnomusicology offers key ways to study these practices of cultural production, including Feld's (2012) concept of Cosmopolitanism, Nettl's (2005) ideas around the politics of music, and Araújo's (2017) politics as Praxis. This contributes to our understanding of an understudied aspect of contemporary Palestinian culture, and models for localised reimagining of diasporal African-American musics.

该项目探讨了一种新兴的流行音乐形式，这种音乐来自非裔美国人的嘻哈音乐，在二十一世纪，这种音乐越来越成为西岸、加沙、以色列和更广泛的巴勒斯坦侨民的声音。这项研究解释了不同的巴勒斯坦艺术家使用嘻哈作为创造巴勒斯坦集体政治愿景的手段的方式。在2021年5月的起义中，人们可以在拉马拉的Almanara广场，纳布卢斯的购物中心以及2021年的黎巴嫩民间抗议活动中听到Daboor & ShabJadeed的曲目'Inn Ann'。对巴勒斯坦音乐的研究通常集中在民间传说和遗产，以及音乐与抵抗之间的关系（参见Barghouthi 2013，Kanaaneh 2013），或第一个巴勒斯坦嘻哈乐队DAM的传记（Maria和Shihade 2012，Withers 2018，McDonald 2013）。此外，麦当劳（2013）对巴勒斯坦嘻哈音乐的研究将其置于文化抵抗的二元结构中，作为巴解组织1964-1989年所接受的武装抵抗的替代品，而Maira和Shihade（2012）则对巴勒斯坦的嘻哈音乐进行了更多的地缘政治和社会文化分析，但两者仍然有限，因为他们只关注DAM。这两项研究都没有涉及嘻哈音乐如何被用来表达巴勒斯坦身份的集体愿景的问题。此外，我们缺乏对当代巴勒斯坦背景下这种有影响力的音乐的历史和文化定位研究。通过关注更多的艺术家群体，在巴勒斯坦内部的背景下，我将研究巴勒斯坦文化场景中音乐制作人所表达的愿景。这项研究是由一个关键的研究问题：巴勒斯坦嘻哈艺术家如何使用他们的音乐作为一种工具，阐述了巴勒斯坦身份和国家在2010年至2021年期间的集体政治愿景？这就提出了一些附带的问题：这些艺术家和他们的音乐在巴勒斯坦社会中发挥了什么样的文化习俗和作用？这些作品中体现了什么样的政治观点？文化身份和民族意识是如何被利用的，它们如何与巴勒斯坦解放的更广泛的话语相关联？本研究借鉴流行音乐的文化研究方法，结合民族音乐学的方法研究散居音乐文化。我避免了音乐家研究中常见的简单传记方法和流行音乐研究中Hebdige（1979）强调粉丝的倾向，而是利用民族志访谈来探索艺术家在阐明其音乐角色时使用的话语，沿着歌词和音乐的分析。从Grazian（2003）的民族志研究空间的意义，但适用于生产文化，从Gilroy（2002）的散居文化和美国以外的非洲裔美国人音乐的想法，从Hall（1981）的流行政治。民族音乐学提供了研究这些文化生产实践的关键方法，包括费尔德（2012）的世界主义概念，内特尔（2005）围绕音乐政治的思想，以及阿劳霍（2017）的政治实践。这有助于我们理解当代巴勒斯坦文化的一个未充分研究的方面，以及对散居的非洲裔美国人音乐进行本地化重新想象的模式。