my voice is my weapon by david a. mcdonald
TRANSCRIPT
-
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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)
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
7/32
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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.
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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]
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
11/32
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]
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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-
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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 , ,
, .
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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 - ,
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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 , ,
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
.
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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 -
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
29/32
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.
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
30/32
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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,
-
7/29/2019 My Voice Is My Weapon by David A. McDonald
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-