My Voice Is My Weapon by David A. McDonald

7/29/2019 My Voice Is My Weapon by David A. McDonald

1/32

Mu, Ntnlm, nd th Pt f Pltnn Rtn

My voice is My weaPoN

Dd a. MDnld


2/32

2013 Dk Uvy PA v

P U S A -

Cv y H Hy. I y Cy L Bk

y M P y I Sy, I.

Ly C C--P D

MD, Dv A., 1976

My v y w : , , P / Dv A. MD.

I .

isbn 978-0-8223-5468-0 ( : k. )

isbn 978-0-8223-5479-6 (k. : k. )

1. P AMHy .

2. MP I.

3. MP Gz S.

4. MP W Bk.

i. .

ml3754.5.m33 2013

780.89927423 2013012813


3/32

Illustrations v

Note on Transliterations

Note on Accessing Performance Videos

Acknowledgments v

introduction 1

chapter 1.

N, B, Pvy R 17

chapter 2.

P, S, S 34

Voices in the Resistance ovement (19171967)

chapter 3.

l-Naksa E P S (19671987) 78

chapter 4.

T I G S (19872000) 116

chapter 5.

Rvv Nw Av 144

Te al-qsa Intiada (20002010)


4/32

contents

chapter 6.

My S C R W N 163

Baladna and Protest Song in Jordan

chapter 7.

I E 199

Negotiating Power and Resistance in Palestinian Protest Song

chapter 8.

Nw D Nw M

231Palestinian Hip-Hop in Israel

chapter 9.

Cy W Lk W 262

DAM Brings Hip-Hop to the West Bank

epilogue 283

Appendix: Song Lyric Transliterations 287

Notes 305

Bibliography 321

Index 329


5/32

Figure 2.1.

Lk , G, I y v

U Q 35

Figure 2.2.

A O, udist q A -Aq 38

Figure 3.1.

I fd iyn 90

Figure 3.2.

q A -Aqin Sijn kka v 107

Figure 4.1.

B w 124

Figure 4.2.

A k -y 134

Figure 4.3.

S,Jay al-Hamam (H v) 137

Figure 5.1.

la bwab al-Quds (O

J), v 146

Figure 5.2.

ama al-qsa ( -Aq), v 147

Figure 5.3.

M S 156


6/32

illustrations

Figure 6.1.

K K 165

Figure 6.2.

B 168

Figure 6.3.

D v ,

Sawt al-Hurriya (T v ) 186

Figure 7.1.

I N 223

Figure 8.1.

dam P Ly 234

Figure 8.2.

N 235

Figure 8.3.

dam ( N, S N, M J) 244

Figure 9.1.

dam (S N, N, M J) 264

Figure 9.2.

dam y R 265

Figure 9.3.

N -Bykz (Bk-D C) 275


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example 2.1.

Y Mw -Hw 37

example 2.2.

M Sj Akk ( Akk P)

P A D v 54

example 2.3.

A D y v 63

example 2.4 .

Y - y 65

example 3.1.

M y Wy -My?

(W ?) 100

example 3.2.

H -N (T w) y y 109

example 3.3.I Y A (W w) y y 112

example 6.1.

Ly w-Ly 183

example 7.1.

Dw 201


8/32

note on transliterations

nttn Ab w h w th yt by th

International Journal o iddle Eastern Studies, q P-

tnn n, txt, n h whh I hv t th yt

H Bw y P . A

thght th h n wtng th bk t w xty -

t t tngh btwn q n txt. Tght I

v v , y,

g, n nty tht n gb t th wh -

v , , . Hwv,

v w , , y -q vy . P , ,

y y , -

, y w w . I-

, I v w

w w w w . Cy

f f

. S , y , wk v z w -

k ( ). C v z

throughout, transliterated, and italicized without diacritical marks (except

n ). W tht n Websters Collegiate Dictionary tht

hv n t Engh ng n/ nntn, h Cairo,

Beirut, Yasser raat, w -

ics. In instances where individuals, ensembles, or other organizations have

readily adopted an English transliteration (or example,El-Funoun insteadoal-Fann), I have maintained their transliteration throughout. I adopted

Hw w.


9/32

note on accessing perforMance ViDeos

I v y w

eia D Av Pj I Uvy (www.v

.g). T eia jt btv vnt t tbh n nn

gt hv thngh vt by h n

. 2001 2009 y Aw W. M -

tn, Inn Unvty, n th Unvty Mhgn, th jt

v th jnt t thngh, h, hvt,

, k v

v. Hw-

v, th eia jt h thn y gt hv. T q

vw wy , , ky -

nt, nyz, n y hb th nt tn by

v kyw v.

A , y eia j, usic, Folklore,

and Nationalism among Palestinian Reugees in Amman, Jordan (2003

2005), w vw v y -

; y w - , y, ; qky w

y v . W k

wy , v -

graphic video collection or urther explanations, perormances, and dem-

P .

Bw /v v vw

eia w. E w

, purl, w q k w /v eia j

. T I v w


10/32

v A P V

ntht (.g., eia 14-a3387). T wh wh t th

eia j y k

v k , w

w y y w eia j. O

account has been created, the listed examples below may be easily located.

R k y v y

eia j y w w purl -

w . T purl

w w w

. A purl n t tht nv hng n

-, -, purl (.., 14-

S9030) q . O purl

, y vw y

by ng th nq purl nt t th n th wth

purl y w vw. R

v k y y k purl

wv ; y v eia

w, v k w k y q -

. O w eia, y y v

n n t n. T yt w nt th n t w . T w, -

z y , , ,

purl /v k.

udio and Video Examples

chapter 2

eia 14-s9039 | Y Mw -Hw (O )[://...//v/14-S9039]

eia 14-s2070 | M Sj Akk ( Akk P)

[://...//v/14-S2070]

eia 14-a0876 | Cy y k

[://...//v/14-A0876]

eia 14-a3387 | A

[://...//v/14-A3387]eia 14-a1093 | A D

[://...//v/14-A1093]


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A P V v

eia 14-a6184 | D dabke , wid wa ns

[://...//v/14-A6184]

eia 14-a5646 | Y -

[://...//v/14-A5646]

chapter 3

eia 14-s6760 | H -N (T w)

[://...//v/14-S6760]

eia 14-s0768 | I Y A (W w)

[://...//v/14-S0768]

chapter 5eia 14-s7686 | Sy -Sw (W k )

[://...//v/14-S7686]

chapter 6

eia 14-s6800 | Ay H -S -Kk A Mj

(A v y Kk, A Mj)

[://...//v/14-S6800]

eia 14-s0790 | Ly w Ly

[://...//v/14-S0790]

chapter 7

eia 14-s4997 | Dw (S/y)

[://...//v/14-S4997]

eia 14-a4295 | K Kh gt by U In, n y

w al-Wahdat [://...//v/14-A4295]


12/32

acknoWleDgMents

Tis ethnographic study, like any other, would have been impossible with-

y v z. k

v ght y, th h n wtng th bk bnt

, , ,

y N A M E.

v I y k.

Ft, I wh t gty knwg th gn nn -

tn v ntttn wtht whh th jt w nt hv

bn b: th Cnt Gb St t th Unvty I-

, w v y A 2002; Fulbright-Hays Foundation, which unded sixteen months o eldwork in

20034; A C O R (acor), w -

wk 2005; Uvy

In Ubn-Chgn (uiuc), wh gt g n th

wtng th nt ttn h th jt ng 20056;

I Uvy O V Pv R, w

w wk 2010. -

I y , w vw .

W I w v

y v vw v . I -

y nbt t th Jnn Mnty Ct, th Ptnn

Mnty Ct, th Ntn M Cnvty Jn N

-H , J Ay M, P A

Center o al-Bireh, the Inash al-Usra Society, Darrat al-Funun in Amman,

th Ab H Shn Fntn An, th Fnh CtCnt An, acor, th Cnt Sttg St t th Un-

vy J, B C A, y A


13/32

v Akw

Uvy J, Ew S N M Cv-

y P. T , , , ,

y y

w vw, , v y .

Ang th n n g I wk wth, I w y

k z A O, S S, M S, M

Sk, M, I Sy, N J, I B, S

Khoury, Reem alhami, Mustaa al-Kurd, Samer otah, Ahmad al-Khatib,

H B, M , M Y, K K-

, H M, A A, H Nzk, M Dw,

Sh Knnh, Ab -Azz Ab Hb, Mh Knnh, Mh-

Skkjh, Ibh Nh, D Abb, Ab -Znty, M-

-, S -M, q A

-Ahqn, Fqt - Q, Fqt - Ay, Bn, dam, pr, Fqt

-Yk, Fqt -R, Fqt -Aj, Fqt -Hnnh, Fqt -

Funoun, Firqat al-Ibda , Karloma, Nawazen, and Firqat al-Zaytuna. Above

all else, however, I oer my sincerest gratitude to one musician in particu-

, K K. O y k

v y -

bate about history, politics, and music essential to understanding both the w v v

P -. T y w w

K K w y w y -

. I y K y

y maqlba v .

A v y , I w -

nz th Khy n -Q . By th n y ty n Jn

t b n nt t b nt ibn al-khr( n thKhoury amily). A prominent Palestinian Christian amily originally rom

R B Z, Ky A w

- v

. T Ky

y y w . Lkw

v -Q , y A -Q, -By, -

v y f dabke , , k

P y .My wk A j y

t t y h tnt n ngg tt, Nh Kh-


14/32

Akw

. Tght th h tg th jt Nh nt nt-

h ng y tntn, ng v, tqng n

y , -

v P Kw G W.

H ttg n nh v t bnt th jt n nn-

able ways, bringing to light an ofen-neglected story o Palestinian history

. I I y kw y

I Uvy, W A, w

. I

Jy C Hy B-Izk, w ky w v

y .

I y D A. B, T , B

N, K C, M Bz Uvy I, w I

w

. I qy Dv H, Jy W,

ny Pn, Sh Lng, E H, n Stn F th

nght nty n f th nt. At Inn

Unvty I hv h th bngng t vy, hngng,

n ttng ht k n thngy h n

. Sy, I w k y k JC, Hy G, Pv Sk, D R, R S

ngng t y th t wthn th g

k v . Sw, J P, V-

ginia Danielson, Anne Rasmussen, and an anonymous reader should also

kw

this text as well as inormal discussions and commentary. While this book

y y, y -

y .Fny, th bk t t y wn n, th w y

S Pk MD, w y

. I y y w y

I . M , ,

, .


15/32

id

Entering the Field: eans and ethods

Ity t y v n An, Jn, n My 2002, th

ngng -Aq nt (ng) (20002006) h nty ntn-

. Sk y A S vy z w

I , H -S -Aq Mq,

Stb 2000, th nw nt h ny t t n th n bgn wth th gnng th Dtn Pn-

(dop) v O A 1993. I v

th n nt, ny y ntt w fn h

y , w w w

y ntt n xtnn th t Ptnn nt

(198793), y w k -

1987: v v , , -

, y I y th Wt Bnk n Gz St. In th n - Aq nt nw

q v w w v v

k .

T 2002 v I v P

k , w . R-

v I D (idF), k A w

, y jy

v , y vv w w v- v P -

, W Bk, Gz S. I P


16/32

2 I

w w

v -

v k y -

I y .

C w . S w, k, -

v q y P-

n n h t wk t t wh v

. Lkw I

b , vnb t ttk by nnt t vn

by v Ptnn t-g tn. On Mh 27, 2002,

Ny k y I Pv -

y, w w . T w y O D-

nv Sh (ods) bgn, tng n th tght nvn vy

j Ptnn ty, g , n vg, ng tth

g t vn ntt. T Ptnn Cnt B

Sttt, hng tn, gh, n n wnh t

w y , w M E, H,

n Ct. Wth n, I ytty ty th

v P y (v , -

v , k, , ), -tng th Ptnn Athty (pa) n tvy tng t -

(Y A) v

. W wk

P 1993 D P

O A.

I . S -

W Bk Gz S I J

W 1967, n Ptnn hv v n gn -tn, wtht tznh, wtht v bt, wtht ght t -

tntn. Ov t th tn (al-itill) b th -

P , y

thght n t. In nt ntn n tv v-

n, h wht n th bnn ods n 2002, th

t tn xtn tw th nng th g

w . Wk A, J,

, w 60 P-tnn g th nnt, t w tht nt t

y. I - ,


17/32

I 3

hk, t, n by ttntvy wth tvn.

Angy ntt n th t nyt nz th -

wv w v j. C y w

I A , y

w . P -

y I y

W w P .

D y W A, -

w v. Uvy J w

kyas (k--w k v), , w

their support or the intiada. Necklaces depicting historic pre-1948 Pales-

( I, W Bk, Gz S)

w w v

th nt hn. C v th ty t t

Handhala (the cartoon characterization o political satirist Naji al-Ali) on

, w y w y

v E- . P

y vy , -

-A -I . Av y ,

, , , , v J P J .

I v t nt n ntbty, hng t wt n

y P v y. I-

y J w y y v P-

w. A wv

x n 1948, 1967, n 1992, Ptnn g hv nt

th Hht Kng t th xtnt tht Ptnn nw nt

t tn, ny, n vt t. In h th -v y , I w

v wy P

. Cy J

v P , -

y v . H P-

, , , , y w-

y, y ,

z.Ethnography seeks to understand how each o these overlapping rames

tt nn tn n th. It nt t


18/32

4 I

bt nttn, btn t, nng th bty t

v y v . I

y k vv v , k-

. Iy

I w nvy n by ntn tn

y, v v y -

w P v. I -

, y , I v I w

n Ptnn ntty tht ght y t w x-

I , , P-

. , I , y , P-

tnn tt tn ng whv I n t, ty

wng tnt n n n n t gnz t

, v,

w k-y .

A , y

Palestinian protest song seemed entirely appropriate. I actively sought out

v w P- w v,

harnessed, and wielded in the project o sel-determination. Friends ofen

told me that they elt most Palestinian at weddings. Celebrating through , vy vv

P jvy . , I -

w q -R (T V E),

P w . I v

poetics o Palestinian identication in Jordan. However, what I ound was

. W w

, , - w

y w . P w w fas wedding songs were sung at protests, i such a distinction could even be

. Mv, y -

y , w w,

, , , w y w -

n ntn tn, n n tt n y

wy, , , , .

I y P w I

v y v, k-doscopically shifing under the duress o overlapping rames o dierence.

A y q , ,


19/32

I 5

, y . I

y w P-

v

v . My J 2003, w w

nt t xtn nth h, ny n y -

t. Tgh th vt t tn n tv h wn n

w w y, v

w ( vv ) y P

v . S y w

P ,

I y v (1987

93). C v w

vv , I v

o Palestinian nationalist activity through music and dance. But the pieces

. S , ,

y y v. Nw y

catch on, largely alling into two categories: propagandist calls or martyr-

w v y

P v . My

v , I , z

y y , , -

v.

Mv, th ny t fn t b tn (ma-

qawma, thawra, umud, nt) b nngy bt

tt y w th wtht ntnng wht thy

nt. Wht t b b tn tt ng

w y v - , y , k ,

y. D w y

- y -

. W w v

with resistance apart rom essentialized stylistic categories, to reinscribe

v .

I y th t tn tt ng gn t-

y y , - -: w j . P

y y


20/32

6 I

v j P -. T

- y -

k z y

n. F th ntn k ng, tz h, -

, - y qy

.

A w P

w w, gnng t th tn n

v . A, , -

, w f

w . My

j y

. Cv y v

, y , ,

cultural, and political barriers proved too dicult to overcome. Yet by and

jy v w w I k w y -

v w y , v

y v.

Af v wk J,

nt tht I w n nw t t n tv n thW Bk. T 5,640-q-k , w Gz

S, w P w w 1948

n th tbhnt th tt I. C by Jn w-

1948 w, W Bk w

ntntn, gnng th n n xtnn th J-

E Bk. Hwv, j W Bk

H K J v ,

th n th wtn bnk th Jn Rv vy t th 1948 I, E J,

P y P-

. Af J y J W 1967

( S-Dy W), W Bk Gz S (vy

P y ) y y

I . y O P (opt) -

j y v j

I ntn ty n nt xnn n th g( w) Jw .

My wk W Bk w y. Uy


21/32

I 7

J

. R , v, y v -

w A, v k -

v . I v-

b tt n ng Ptnn t w ny t

work in the more expansive archives and libraries in the West Bank. Ironi-

y, v ( ), ,

t h, n tnt t vb

W Bk J. P v v

, , y-

, v

. T w y v

J, w f -

vv vy H y. Lkw, A-

w v y

w v. I w -

w P y, w

w w y -

.

A y, P w w- k y J. I v

W Bk I y

P y y P

W Bk.

wk W Bk y w -

w I w . Ey

, wk J, B, R-

w y f w, , k, ,, y y I

. v w w P ,

, , I y y v

. Of I w wk y -

v w y v

v y y , , J-

. Ov , wv, I y R- y

y v w j. v k w B, J,

R ( wy k) w


22/32

8 I

w . Ck, , v-

w P v

q w,

, y , q, .

R A w

, I v w v:

. E w v

v wy y, ,

n nt n vyy . Evy w wk, th-

, I w W Bk v Ay B. I w

, vw , k ,

k . Mv k w A R

v , ,

. I w k

J Rv, wk

w . v W Bk

y 1967, vy v P -

g n th nnt n Jn vtng th nt vg.

Sh by y An t n Ih xn, I vt th

v v y , k ,, (kk P) . My

A z -A v

, y

v.

I 2003 I w -

1970 1980, q A -Aq (T

Sng th Lv Enb). T g h nty bgn -

bk t n Nvb 2003, ntng th tnt nw gntn y vv

1970 y 1980. U

, H M (A A), I w -

w nai y

(n Ab n-bwn t) n h n ng n.

W y w -Aq, I y -

ada songs (melodies, rhythms, and texts) rom the vantage point o an in-

. M , , , y- w


23/32

I 9

. T w v y v y

v y .

My thngh xn wkng n ng wth th -

v y q yy

v wk P . A , I w

nt ny n t th ng, bt t t th t

, w, v. My , ,

jam sessions, and other musical events allowed me entrance into the com-

v v . I

y y I w -

z y y 1970

k y y -

v v . L y

-

, , , v, v

v .

My -

, w

k , , y wk-

ng n th vnt Ptnn - tntn. T hw, th, gy thngh n nttn, b n xtn

-v. I I

, w. A I w

, . H

v I

y, wyaba huzm, , w -

y w .

T wk w y wv nng gn btwn jnt b-

v y, w

sense o being: a representation o the repertory as it was perormed and

.

C v A R, I -

, , ; v

v P ; k-

t n th xt n th t h. Ptnt-bvtnbn wth ntvw n th tn ht


24/32

10 I

y . My vw w

y - v

. O w q , k v

. I vw w A

E . R J y

g w fn nty n Ab, wh ntvw wth gv-

w f

y E. Uy y, y

v y f w w , k -

y vw y. I -

t nttn n tn, ngg w y

means o sel-identication and sel-construal, distinguishing amathqqaf

() P min al-shuwri( ).

Af v nth wkng n An n th wnt 2003, I

K K, J- B (O

Hn). Wkng wth K v ntng ntnt

t v ntv I h bn x t. In ntvw K

w y . H v -

y v J,

y v k. D enthusiasm, there were ofen unavoidable diculties in our collaboration.

Wk f- y , K w f

vw, y w y , y

y y . S, ,

, R k ,

, v wy. Gv y -

800 pm, I w fn f wnng hw I w k t bk t

y tnt n bbn An. Af nght, b n h vy , y w I k

w . A k k A

q , , . O

I w vjy y y

An nghbh, A. Untnty th v w t

wy- f y wy I -

w v y. S w

, I v k A, k , , ghng nntby t th tng k n

.


25/32

I 11

Ov wy wk -

Aqsa intiada, the political landscape o the resistance movement changed

nby. T An nvn Iq, th t nt-

I y/ w, Sk

Ah Yn n h (Ab Azz Rnt), th Ab Ghb

n b n, th gnng th R M, n th th

Y At h gnnt t n Ptnn ty n w

. W y

v, cd, v, ( w )

v , , -

gy, xng tg. M, t , w w n

P y, z

, . T

ormed a signicant space in which commonsense understandings o Pal-

y, , w y

, .

In th 2005 I tn t Ptn t bk n nw

. Ov v y I , v -,

wth g Ptnn I h-h tt nty -

I W Bk. T v I ghtt Ly n ntgng t Ptnn

y . Ty w P

z I, 48, y v,

w -1948 P. T y -

A -

P I -

. Png n xt Engh, Hbw, n Ab, th

ty kb tnty t nt nw - P , w

w w .

2005 I v P -, vw-

, I

W Bk. T y w w y w -

v P I,

A Jw, y

. By ,tht, n tn tt xhbt by th thy -

b n I Jw n Wt Bnk Ptnn, I


26/32

12 I

z , , w -

P .

Synopsis

T k z w y :

t thnht (ht 25); th n, thngh (ht

69). Ethngt hv ng y ht n thn-

gh thg n th wk, n th bk tny n x-

. My -

t, hfng b ht ntv t t thngh

xn. Hwv, th vnt btwn th tw thg

, y v .

v y q y

-

y .

T tntn btwn ht n thngh t

wk q. w -

v 25 w w y,

w v y : - tnt-bvtn, ht, ntvw, n txt ny.

My v w

v t n th nty n (nv-

, vw, v , ). A

w . I

wy y P v-

, v v -

y t. My ttt t nt n thngh hty P-tnn tt ng tt ht ntnng t vnt

w wk y .

On t v th vn th txt nt tw tn

v . Gv k E- -

gh n th hty n vnt Ptnn , th h-

y 25 y wk

v , -

wk vy P y y y v y

. y w


27/32

I 13

P , al-dabke, -

ng gt tn, x, n t t ntn th

y, v wk w k

.

v wk kw P y, kw

, .

Wth th n n, n ht 25 I v b ht v-

vw P , y

w . T

careul musical and textual analysis I explore many o the dominant signs,

yth, n nng nhnt t th ty, nttng th n-

x tn tht nttt th t Ptnn ntn-

. I 2 I v -1948 P-

, w y

shar al-murtajal (t-ng). T n th t

N I 1936 G Rv w

, z v

z alln

(y) B .

Fwng th, I t th t n th 1948 w,al-nakba (th tth), n ngn Ptnn

k. I A -

Ey w

Ptnn g th gn. I th -

A N P

ntn ntt n x n nt th n

jv

. W N A J W 1967, w y ,

kw y Sk I I. I 3 w

v k -

A y.

In ht 3 I ntn th ht ntv, bgnnng wth th

P L Oz (plo)

fd iyn ( ). T v y

ntng th btn vnt nyz wth - P -

tty ntt. Sgnnt t, ng, n ng wth


28/32

14 I

v j , , z.

T P-J v w (Bk S)

S S w

P .

I 4 I P

198793. H I nt n ny th nng vv ng-

v. T y z

fd w nt by gy tn-thwng yth, th atl al-

ijra ( ), Gz. T f

h tn tn nng th ntn n th ty

. I ,

, , I, A -

w j -O

n nt th bgnnng th n -Aq nt. I bgn

5 w vv w v,

k y wy y f

w w v -

(jl al-thn).

I 67 I v v

k 1980 1990, K K. I y K

I w - w

y w , -

, . S w P J-

nn ntn, th tw ht v ht n thn-

gh ny th tn n tv by

w vv v-

. Dw v -t, I ttt t v th n nttn Ptnn -

n n th tt wht t tt tn, ntt,

v w

. v y -,

w y ? A w -

mative moves or experiencing and participating in the intiada rom aar?

I 8 9 I f P-

tnn h-h t w h by g yng PtnnI y Ly, y -

Avv, I. A y , P -


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I 15

w qky k

y I W Bk. T v

w y y

P I y E, A,

Hbw. T wk v nw v whn th tb-

lished modes o Palestinian nationalism were resignied, inclusive o new

. Py y

wy v

national ambiguity through the perormance o shared cosmopolitan aes-

tht n t. In nyzng th t n t th nw

wv - I y , -

tn, n tnntn, ng n h tht tt

w y.


30/32


31/32

notes

Chapter 1

1. Butlr, Bodies Tat Matter, 2.2. MDoald, Gographi o th Body.

3. Avrill,A Day or the Hunter, a Day or the Prey, 3.

4. Abu-Lughod, T Roa o Rita, 43.

5. Ibid., 42.

6. Ibid., 53.

7. Ibid.

8. Mahood, Te Politics o Piety, 9.

9. T thouiologial litratur o atioali i ubtatial. Howvr, v-

ral ky our hav b ifutial i y approah. Aog th ar urio,

T Stat ad Ada Muial Produtio i Pru,Moving Away rom Silence, ad

Nationalists, Cosmopolitans, and Popular Music in Zimbabwe; Stok, Ethnicity; Da-

orth, Te Macedonian Confict; Moor, Nationalizing Blackness; Sugara, Iagi-

ig th Holad; ad Buhaa, Perorming Democracy.

10. Loka, Comrades and Enemies, 7.

11. I a roudtabl diuio with variou hitoria Prry Adro publily

alld or a rlatioal hitory (Agda or Radial Hitory). Othr holar hav

ought to uovr th hitorial rlatiohip btw th Jwih ad Arab world.

S pially Bii, Was the Red Flag Flying Tere?ad Te Dispersion o Egyptian

Jewry. For a uiologial tudy o th rlatioaliti btw Jwih ad Arab o-uiti, Kahl, Dance and Authenticity in Israel and Palestine.

12. Sti ad Swdburg, Popular Cultur, Rlatioal Hitory, ad th Qutio

o Powr i Palti ad Iral.

13. Partr, Giving Voice to Stones; Swdburg, T Paltiia Paat a

Natioal Sigir adMemories o Revolt; R. Davi, Palestinian Village Histories;

Slyoovi, Te Object o Memory; Ptt, T Writig o th Wall; Olivr ad

Stibrg, Popular Mui o th Itiada.

14. Arbrut,Mass Culture and Modernism in Egypt.

15. T paralll opt o ouita ad loality wr dvlopd by Vitorurr (Te Forest o Symbols, 93111); ad Arju Appadurai (Modernity at Large,


32/32

306 Not to Chaptr wo

17899), to udror th pro govrig phral ot o it

ouity ad blogig aog oial ator.

Chapter 21. [http://purl.dlib.idiaa.du/iudl/viada/14-S9039]

2. T rr ad hr i to th hroi dd o th artyr. T ari o

th Paltiia artyr i o adirabl that th artyr i i t tahig dath

how to di.

3. Ovr th our o y rarh I aw Yaa Mawil al-Hawa prord by

a varity o Paltiia bl throughout th rgio. Wddig bad ivari-

ably iludd it i thir t lit. Folklori da troup ooly ud th og

a th bai or thir or otplativ routi, a Paltiia laial art ui

bl ud it a th oudatio or a largr opoitio ad iproviatio, ada tudt bl at th Edward Said Natioal Corvatory o Mui (esnmc)

adaptd it ito thir progra o Arabqu jazz.

4. S Sugara, Engendering Song: Singing and Subjectivity at Prespa Albanian

Weddings; Akw, Perorming the Nation: Swahili Music and Cultural Politics in an-

zania; ad Buhaa, Perorming Democracy: Bulgarian Music and Musicians in

ransition.

5. Abu-Lughod, T Roa o Rita, 53.

6. Rgardig urthr our o th rprtory o th idigou pot-igr ad

th rita ovt Sirha, Al-Aghiya al-Shabiya al-Filatiiya, 11436,

12549;Musua al-Fulklur al-Filastiniya; al-Zawati,Al-Wajh al-Nidali li-1 -Aghniya

al-Shabiya al-Filastiniya al-Kuwait; Sbait, T Iprovid-Sug Folk Potry o

th Paltiia; Barghouti, Dawr al-Aghai al-Arabiya al-Shabiya al-Itiada

al-Filatiiya; Bar-Yo, raditioal Rural Styl udr a Pro o Chag; ad

Shabb, Potry o Rbllio.

7. T igia, trutur, ad aig o ug potry i Palti hav

b tudid xtivly i th ld o olklor ad thouiology. S Capi,

Weavers o the Songs; Eliri, Te Palestinian Wedding; Jayyui,Modern Arabic

Poetry; Sbait, T Iprovid-Sug Folk Potry o th Paltiia; Sbyhat, T

Zajal o Northr Palti; Yaqub, Pens, Swords, and the Springs o Art. For arly

our o pr-1948 Paltiia potry ad pot-igr, Dala, Palastinischer

Diwan; Sirha,Musua al-Fulklur al-Filastiniya; Saarialo, Sog o th Druz; al-

Sawari,Al-Shar al-Arabi al-Hadith Masat Filastin min sanat 1917 ila sanat 1955;

Barghouti,Al-Adab al-Shabi al-Filastini; Hijab,Al-Aghniya al-Shabiya Shmal Fi-

lastin; Malha,Al-Aghniya al-Shabiya Shmal Filastin Qabl Aam 1948; a wll a

th ay artil publihd by thJournal o the Palestine Oriental Society.

8. wo dirt hitori o th Grat Arab Rvolt ar worthy o itatio hr:

Porath, Te Palestinian Arab National Movement; ad Swdburg,Memories o Re-

volt. Eah o th txt provid a itrtig outrbala o politial hitoryad popular ory. Epially iportat or th purpo o thi tudy i th lat-

My Voice Is My Weapon by David A. McDonald

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