There’s a standard speech I give when people ask me about the Middle East, and in particular the Arab-Israeli conflict. I have shied away from writing on the subject in this blog for some time — it often seems that all the arguments have already been made, and every discussion devolves into a screaming match that brings out the worst of the blogosphere, which is tiresome.
But today, in light of the news and a recent musical discovery, I gently put forth the crux of my standard speech, which is: From a cultural perspective, it doesn’t have to be this way. The division between Arab and Jew is an inorganic one. The precolonial Middle East and eastern Mediterranean were dazzlingly diverse. Major cities contained the three “religions of the book” in equal parts, and among these were many sects. But identities had as much to do with the city one called home — Damascus, Aleppo, Baghdad, Istanbul, Salonica, Jerusalem — as they did one’s religion. (I have written about this more here.)
And yet, the mainstream media constantly tells us or implies that the “Arab-Jewish” conflict is an age-old one. Not only is this inaccurate — it is a 20th century phenomenon — it’s a confusion of terms: Arab and Jewish are not exclusive categories. They are used to describe ethnicity and, in the case of the latter, ethnicity and/or religion that may overlap with many different ethnicities. One may take issue with the use of the terms in one way or another, but the thing is, we continue to have evidence that one may be both Arab and Jewish.
Take Israeli-Yemeni singer Ravid Kahalani, whose music I just found out about.
“Most of the people are like, are you Arab or Jew?” Kahalani says. “I am Arab, I am Jew.”
There. You. Go. (The link is from a February podcast on Kahalani by The World’s Marco Werman — I can never seem to beat him to an international music discovery.)
I could write a whole essay about what I like about Kahalani’s music, which a friend introduced me to a couple of days ago. There’s the lovely pentatonic scale; the combination of oud and darbakeh (Arabic drum); the evidence in his voice of his background as a synagogue cantor; that rolling trance-like feel to his rhythms that reminds me of Ali Farka Touré and makes me picture the desert. His album is called Yemen Blues.
Anyway. To bring my speech back to current events. I woke today to images of unarmed marchers setting out from Lebanon, Syria, Gaza and the West Bank, attempting to to cross the border into Israel. Troops of the latter opened fire, killing at least a dozen and injuring scores. Many of the protestors were reportedly Palestinian refugees — there are nearly 5 million of them in Jordan, Lebanon, Syria and the Palestinian territories.
In my standard speech, I make my point about identity because I think, however one evaluates incidents such as these, it is important to remember that they are a result of political grievances that have their roots in the events of the last 100 years. (Specifically, many of those Palestinian refugees continue to carry the keys to the homes their families were kicked out of 63 years ago when Europeans escaping persecution wanted a place to live.) Age-old religious animosity does not really factor in.
I certainly do not have Kahalani’s permission to entangle his music in this argument, but as I sit back and listen to him sing “Um min al Yaman” (Arabic for Mother is from Yemen), I can’t help thinking — and hoping — that alive out there still, is another vision for the Middle East.