Bang drums until the cement softens

Abstract

There are many possible readings of a music project taking place in a territory under occupation. By paying attention to the context, values and interests of actors involved in the Music Collaboration between Palestine and Norway (2002-2017), this chapter uses Boltanski and Thévenot's framework of justification to examine possible narratives of the project. Three main narratives stand out, namely, a civic, inspirational and (development) industry one, all of which are tightly interwoven. KEYWORDS Palestine | music | multi-agency collaboration | legitimacy | international development SAMMENDRAG Det finnes mange nyanser og mulige tolkninger av et musikkprosjekt som foregår på okkupert territorium. I dette kapitlet brukes Boltanski og Thévenots legitimeringsteori for å analysere musikksamarbeidet mellom Palestina og Norge (2002-2017). Tre fremtredende narrativer, som alle er sterkt sammenvevde, diskuteres i teksten: musikk som palestinsk motstand, musikk som inspirasjon og musikk som et verktøy i internasjonal bistand.

The Politics of Diversity in Music Education

“…Through cooperation with the Ministry of Foreign Affairs, school concerts effectively became a part of Norwegian foreign policy. The school concert model was "exported" in cooperation with local organizers, such as SAMRO 4 in South Africa, Sabreen in Palestine, and SPIC MACAY 5 in India (Korum 2019;Korum and Subramaniam 2020). School concerts were used as door openers for political and economic cooperation.…”