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引用次数: 0
摘要
将巴勒斯坦流离失所的三个不同地点的音乐研究结合在一起,本文探讨了抵抗歌曲作者Zeinab Shaath, George Totari和George Kirmiz的贡献。通过人种学田野调查,包括电影制作,艺术家的作品通过他们在音乐中的生活,他们的社会关系以及他们自己和他们的音乐所经历的旅程来探索。他们的歌曲创作方法和巴勒斯坦抵抗叙事的呈现与他们所陈述的政治和社会目标有关,这些目标与该地区正在进行的巴勒斯坦革命同时发展。文章从“失落”与“发现”文化中与“糖人”电影现象相关的问题出发,认为音乐家的歌唱与行动主义与巴勒斯坦革命者对ahdaf(“目标”)的追求有更大的关联。音乐流派和社会组织等概念通过他们的能力来探索,为流亡者和那些与他们的事业团结一致的人提出前进的道路。
Exile Songwriters of the Palestinian Revolution (and the Problem with Sugar Man)
Bringing together musical research on three distinct locations of Palestinian displacement, this article explores the contributions of resistance songwriters Zeinab Shaath, George Totari, and George Kirmiz. Drawing on ethnographic fieldwork, including film-making, the works of the artists are explored through presentations of their lives in music, their social relationships, and journeys traversed by themselves and their music. Their approaches to songwriting and presentations of Palestinian narratives of resistance are discussed in relation to their stated political and social goals, which developed in parallel to an ongoing Palestinian Revolution in the region. The article proceeds from problems associated with the Sugar Man film phenomenon, in “lost” and “discovered” cultures, arguing that the singing and activism of the musicians finds greater relevance in the pursuit of ahdaf (“targets”) by Palestinian revolutionaries. Concepts such as musical genre and social organization are explored through their ability to present arguments on the way forward for exiles and those standing in solidarity with their cause.