MUSIC: Music politicised à la Barenboim resisted by Palestinians October 4, 2009
by Stig Magnus-Thorsen - Resistance Studies, Goteborg University, Sweden - 20 August 2009
Friday August 7, Daniel Barenboim conducted a concert in Geneva (AP 08/08/09). The concert was dedicated to the pianist and scholar Edward Said and was meant to support the choice of Jerusalem as an Arab Cultural Capital. Barenboim and Said 1999 initiated the performing orchestra (West-Eastern Divan Orchestra) as a space for bringing Palestinian (Arab) and Israeli musicians together. The aim of the “Divan” is – according to Barenboim – to promote understanding between Israelis and Palestinians and pave the way for a peaceful and fair solution of the Arab-Israeli conflict.The art project has gained enormous enthusiasm in the West as steps toward peace and hopefully an end of the conflict. However, the initiative and progress of the Divan Orchestra is contested and resisted among many Palestinians, who see the project as tokenism. Instead, they would benefit from clear standpoints and real actions aiming at freedom. Now, Barenboims view on political issues contrast his suggested musical steps towards peace. This is proclaimed from many organisations e.g. The Palestinian writers and Artist union.The Palestinians – after their return to Palestine – often gain a repute of having ”slept with the enemy”. It’s also obvious that the cultural heritage from the Arab side is let down as Western music almost totally dominates the repertoire. Cultural curiosity and empathy towards Arabic Culture are obviously not comfortable on the divan. Thus the Divan is seen rather as an obstacle in the fight for equality and freedom.If music is to create a dialogue or act as a resistance (e.g. towards the ongoing war and occupation), both parties must agree on basic rationales and goals. In this case it is quite obvious that the target is not shared, rather great disharmony command as in wartime. Israelis often aim their dehumanising attacks toward cultural centres in Palestine. They deliberately hold all kinds of musicians at check points until times for scheduled performances are over on the West Bank.East Jerusalem suggested as Cultural Capital is controversial. Even if Barenboim says that “West Jerusalem is the capital of Israel and East Jerusalem will inevitably be the Palestinian capital”, and the Israeli violinist Shira Epstein asserts that the experience of a multi-background ensemble has helped her develop her own ideas about her Middle Eastern neighbours, we can question these opinions as hampering Israelis evicting Palestinians from East Jerusalem? No, the project does not solve anything, but gives honour to Barenboim. He has – after Said’s passing away in 2003 – run the Divan and by that been glorified by all who believe that problems can be solved with music only. However, art can only pretend and give images of solutions. It is in this case more likely that the mobilising effect of music will appeal to separating groups: peace-loving Westerners, Israelis with a mono-ethnic and mono-religious state in sight, and Palestinians who strives for freedom instead of a peace that normalises the present distribution of land. The facade of the music disguises that the factual conflict remains. Barenboim has at the same time become precious as canvassing a well-behaving Israel.
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