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The West-Eastern Divan Orchestra, and the politics of western art music in 21st-century Israel-Palestine

东西方合集管弦乐团，以及 21 世纪以色列-巴勒斯坦的西方艺术音乐政治

基本信息

批准号：
AH/E000061/1
负责人：
Rachel Beckles Willson
金额：
$ 2.1万
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：
2006
资助国家：
英国
起止时间：
2006 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FE000061%2F1
关键词：
West Eastern Divan Orchestra politics

项目摘要

Research has often been undertaken in traditions understood to be long connected / or long-ago connected / with Israel-Palestine, but the local role of more recently-imported European repertories has been less explored. Today western art music is grasped by some Arab Palestinians as a vehicle for their own self-definition, and my aim is to analyse the formations of the consequent musical initiatives (some pedagogical, some performing and some compositional), and their interfaces both with Arabic musical practices and political movements. Studying these may offer novel perspectives on western art music's translatability and also new insights into cultural politics in the Middle East. The pilot study will examine the West-Eastern Divan Orchestra (WEDO). Since its foundation in 1998 by pianist/conductor Daniel Barenboim and literary historian Edward W. Said, WEDO has been celebrated in Europe and the USA as a symbol of hope that Israel-Palestine may one day reach peaceful coexistence. Made up of young Israeli, Arab and Andalusian musicians, the orchestra meets annually for a workshop and short concert tour, enabling Israelis and Arabs to play music together, to perform in places with political regimes of relevance to them all, and to attempt to transcend the political barriers that normally divide them. My study aims to analyse WEDO's significance today from three main critical perspectives as follows. (i) The decline in the significance of western art music today. The analysis will attempt to understand the ways in which WEDO attracts renewed attention to an art form that has seemed to become irrelevant to (even) the majority of western elites. What aspects of the orchestra have entranced western listeners and writers? A related objective is to examine the way the orchestra's press campaign and its Spanish sponsors have been active in shaping its positive reception in the west. The former has issued numerous statements that assert western art music's ostensibly universal power to build social bridges; and the latter has promoted an idealised vision of Muslim-Jewish coexistence in Andalusia 900-1200.(ii) Cultural politics in the Middle East. A further aim is to examine responses to the orchestra's performances in precisely the non-Western contexts with which it ostensibly engages (Damascus, Jerusalem, Rabat and Ramallah). So far, whereas many academics and journalists in Jerusalem seem to regard it positively, Arabic Palestinian web bloggers have dismissed it as a political gimmick. Other negative responses are polarised between Palestinian nationalists (for whom public collaboration between Israelis and Arabs is tantamount to suggesting that the two groups are equal partners in the region) and rightist Israelis (for whom Barenboim's use of the orchestra to promote Israeli withdrawal from the occupied territories renders his work anti-Semitic). (iii) Music-making in the everyday (life within the orchestra). The final aim will be to examine life within the orchestra in terms of participants' interaction with music and politics. How do these young musicians (some of whom have been taught to conceive each other as warring ethnic and/or religious others) communicate musically and politically during the workshop? Is there space for music of other traditions in spare time? What role does music play within the political dynamic of the collaborative enterprise? In what ways are the musicians changed by the experience? The research will provide the orchestra with a larger context than most western readers and listeners currently perceive. It will also expose a particular rehearsal and touring situation and introduce to musicology, thereby, a new view on musical production.

研究往往是在传统的理解是长期连接/或很久以前连接/与以色列-巴勒斯坦，但最近进口的欧洲剧目的地方作用已较少探索。今天，西方艺术音乐被一些阿拉伯巴勒斯坦人作为他们自我定义的工具，我的目的是分析随之而来的音乐倡议（一些教学，一些表演和一些作曲）的形成，以及它们与阿拉伯音乐实践和政治运动的接口。对这些问题的研究可以为西方艺术音乐的可译性提供新的视角，也可以为中东文化政治提供新的视角。该试点研究将审查西部-东部Divan管弦乐团。自1998年由钢琴家/指挥家丹尼尔巴伦博伊姆和文学历史学家爱德华W。他说，WEDO在欧洲和美国被庆祝为希望以色列-巴勒斯坦有朝一日和平共处的象征。该乐团由年轻的以色列、阿拉伯和安达卢西亚音乐家组成，每年举行一次研讨会和短期巡回音乐会，使以色列人和阿拉伯人能够一起演奏音乐，在政治制度对其都有影响的地方演出，并试图超越通常使他们分裂的政治障碍。我的研究旨在从以下三个主要的批评角度来分析WEDO在今天的意义。(i)当今西方艺术音乐的重要性下降。分析将试图理解WEDO吸引人们重新关注一种似乎与大多数西方精英无关的艺术形式的方式。交响乐团的哪些方面吸引了西方的听众和作家？一个相关的目标是研究乐团的新闻宣传和西班牙赞助商在塑造其在西方的积极接受方面是如何积极的。前者发表了许多声明，断言西方艺术音乐表面上具有建立社会桥梁的普遍力量;后者促进了900-1200年安达卢西亚穆斯林-犹太人共存的理想化愿景。(ii)中东的文化政治。另一个目的是考察人们对管弦乐队在表面上与之接触的非西方背景下（大马士革、耶路撒冷、拉巴特和拉马拉）演出的反应。到目前为止，尽管耶路撒冷的许多学者和记者似乎对它持积极态度，但阿拉伯裔巴勒斯坦网络博主却将其视为政治噱头。其他的负面反应是在巴勒斯坦民族主义者（对他们来说，以色列人和阿拉伯人之间的公开合作相当于暗示这两个群体在该地区是平等的伙伴）和右翼以色列人（对他们来说，巴伦博伊姆使用管弦乐队来促进以色列从被占领土撤军使他的作品反犹太主义）之间两极分化。(iii)日常生活中的音乐制作（管弦乐队中的生活）。最终的目的将是从参与者与音乐和政治的互动方面来审视管弦乐队的生活。这些年轻的音乐家（他们中的一些人被教导将彼此视为敌对的种族和/或宗教其他人）如何在研讨会期间进行音乐和政治交流？在业余时间有其他传统音乐的空间吗？音乐在合作企业的政治动态中扮演什么角色？音乐家在哪些方面被这种经历所改变？这项研究将为管弦乐队提供一个比大多数西方读者和听众目前所感知的更大的背景。它还将揭示特定的排练和巡演情况，并引入音乐学，从而为音乐制作带来新的观点。