26 June 2019   Surrender? No way - By: Daoud Kuttab




13 June 2019   Hot summer in Palestine - By: Daoud Kuttab

12 June 2019   Insidious Discrimination Against The Roma Is Europe’s Shame - By: Alon Ben-Meir and Arbana Xharra





24 May 2019   Contradictory moves to rescue Palestinian economy - By: Daoud Kuttab

23 May 2019   Trump Must Never Listen To The Warmonger Bolton - By: Alon Ben-Meir

23 May 2019   Palestine needs freedom, not prosperity - By: Daoud Kuttab














5 أيلول 2015   "من الأزل".. آخر كتب الراحل جونتر جراس - بقلم: المركز الألماني للإعلام (ألمانيا إنفو/ almania info)

21 May 2019

Madonna’s Fake Revolution: Eurovision, Cultural Hegemony and Resistance

By: Ramzy Baroud
print     send by email

Rim Banna, a famous Palestinian singer who translated Palestine’s most moving poetry to song passed away on March 24, 2018, at the age of 51. Rim captured the struggle for Palestinian freedom in the most dignified and melodious ways. If we could imagine angels singing, they would sound like Rim.

When Rim died, all Palestinians mourned her death. Although a few international outlets carried the news of her passing at a relatively young age, her succumbing to cancer did not receive much coverage or discussion. Sadly, a Palestinian icon of cultural resistance who had inspired a whole generation, starting with the First Palestinian Intifada in 1987, hardly registered as an event worthy of remembrance and reflection, even among those who purport to champion the Palestinian cause.

Compare Rim to Madonna, an ‘artiste’ who has stood for self-aggrandizing personal fame and money-making. She has championed the most debased moral values, utilizing cheap entertainment while catering to the lowest common denominator to remain relevant in the music world  for as long as possible.

While Rim had a cause, Madonna has none. And while Rim symbolized cultural resistance, Madonna symbolizes globalized cultural hegemony - in this case, the imposition of consumerist western cultures on the rest of the world.

Cultural hegemony defines the US and other Western cultures’ relationship to the rest of the world. It is not culture as in the collective intellectual and artistic achievements of these societies, but as a set of ideological and cultural tools used by ruling classes to maintain domination over the disadvantaged, colonized and oppressed.

Madonna, along with Michael Jordan, the Beatles and Coca Cola represent far more than mere performers and fizzy drinks, but also serve as tools used to secure cultural, thus economic and political dominance, as well. The fact that in some cities around the world, especially in the Southern hemisphere, Coca Cola “flows more freely than water” speaks volumes about the economic toll and political dimension of cultural hegemony.

This issue becomes critical when a pro-Israel Madonna decides to perform in Israel, as she has done repeatedly in the past, as part of the Eurovision contest. Knowing who she is and what she stands for, her decision should not come as a surprise; after all, in her September 2009 Tel Aviv concert, she sang while wrapped in an Israeli flag.

Of course, it is essential that artistes of her caliber and the contestants representing 41 different countries, are reminded of their moral responsibilities towards occupied and oppressed Palestinians. It is also important that Israel is confronted regarding its unrelenting efforts to mask its apartheid and war crimes in Palestine.

Indeed, the whitewashing of Israeli human rights violations using art - also known as “art washing” - should not be allowed to continue when Gaza is under siege, where Palestinian children are shot and killed daily without remorse and without the least legal accountability.

This is why such artistic events are important for the Israeli government and society. Israel has used Eurovision as a distraction from the blood and gore that has been taking place not far from that venue. Those who labored to ensure the success of the event, knowing fully how Israel is using the brand as an opportunity to normalize its war against Palestinians, should be thoroughly ashamed of themselves.

But, on the other hand, should we be the least surprised? Aren’t such global music events, as Eurovision, at the heart of the western-centric globalization scheme of cultural hegemony, which sole purpose is to enforce a capitalist view of the world, where western culture is consumed as a commodity, no different from a McDonald’s sandwich or a pair of Levi jeans?

Calling on 60-year-old Madonna to refrain from entertaining apartheid Israel can be considered beneficial as a media strategy, for it helped highlight, although momentarily, an issue that would have been otherwise absent from news headlines. However, by placing so much focus on Madonna, and whatever human rights’ values she supposedly stands for, we also take the risk of inadvertently validating her and the consumerist values she represents. More, in this Madonna-driven trajectory, we are also neglecting Palestine’s cultural resistance, the core drive behind Palestinian ‘somoud’ - steadfastness - over the course of a century.

In response to her critics, Madonna answered, “I’ll never stop playing music to suit someone’s political agenda nor will I stop speaking out against violations of human rights wherever in the world they may be.” In the eyes of many who are ignorant of the facts, such an answer may appear as if an ‘empowered’ response to those who are trying to sway a genuine, pure artiste from following her calling.

In fact, Madonna is an expert in appearing as if morally-guided, yet never translating such morality to anything meaningful in reality. In a speech described as “powerful” by the Rolling Stone Magazine, Madonna declared during a Women's March in Washington D.C. in 2017 “to the rebellion, to our refusal as women to accept this new age of tyranny. Where not just women are in danger, but all marginalized people.”

Of course, Palestinian, Lebanese and Syrian women - who have paid a heavy price for Israeli Occupation, war and marginalization - are not to be included in Madonna’s false revolution. And the chances are, shortly after she sings and dances in a jubilant, apartheid Israel, she will once more take on many platforms as if the Rosa Parks of revolutionary art.

While it is important that we keep the pressure on those who engage and validate Israel politically, economically and culturally, these efforts should come secondary to embracing Palestine’s culture of resistance. Behaving as if Madonna’s stage shenanigans represent true culture, while ignoring Palestinian culture altogether, is similar to academics addressing decolonization from the point of view of the colonizer, not the colonized. The truth is, nations cannot truly rid themselves from the colonial mindset without having their narratives take the center-stage of politics, culture and every other aspects of knowledge.

“The intellectual’s error consists in believing that one can know without understanding and, even more, without feeling and being impassioned,” wrote Italian anti-fascist intellectual, Antonio Gramsci. This entails the intellectual and the artist to feel “the elementary passions of the people, understanding them and, therefore, explaining and justifying them.”

The truth is that appealing to Madonna’s moral sense without immersing ourselves passionately in the art of Rim Banna will, in the long run, do Palestinians no good. Only embracing Palestine’s culture of resistance will, ultimately, keep the self-serving, hegemonic and cheap cultural messages of the Madonnas of this world at bay.

* Ramzy Baroud is an author and editor of Palestine Chronicle. His latest book is The Second Palestinian Intifada: A Chronicle of a People's Struggle (Pluto Press, London). - ramzybaroud@gmail.com



Name
Email
Comment
Security Code

26 حزيران 2019   "شعرة معاوية" الفلسطينية..! - بقلم: د.ناجي صادق شراب

26 حزيران 2019   الأمل والإيجابية للمؤمنين..! - بقلم: آمال أبو خديجة

26 حزيران 2019   سقطت "الصفقة" وبقي "القرن"..! - بقلم: راسم عبيدات

26 حزيران 2019   خطة كوشنير: التخطيط الإقتصادي بعقلية تاجر العقارات..! - بقلم: قيس عبد الكريم "أبو ليلى"

26 حزيران 2019   26 حزيران.. اليوم العالمي لمناهضة التعذيب - بقلم: عبد الناصر عوني فروانة

26 حزيران 2019   وسقطت ورقة التوت عن عورة القضاء الاسرائيلي..! - بقلم: شاكر فريد حسن

26 حزيران 2019   كمال الشيخ وقميص القيادة..! - بقلم: بكر أبوبكر

26 حزيران 2019   كتابٌ، ولكنه حقلُ ألغام..! - بقلم: توفيق أبو شومر

25 حزيران 2019   ورشة البحرين، وممارسة البطالة السياسية..! - بقلم: مصطفى إبراهيم

25 حزيران 2019   ورشة البحرين.. مشروع فاشل..! - بقلم: داود كتاب

25 حزيران 2019   قراءة في نصوص الخطة المقدمة في البحرين - بقلم: د. أحمد جميل عزم

25 حزيران 2019   ورشة المنامة: قصة فشل معلن..! - بقلم: هاني المصري


25 حزيران 2019   رسائل الفعاليات ضد ورشة المنامة - بقلم: عمر حلمي الغول

25 حزيران 2019   من الإشتباك الإيجابي إلى الإشتباك الميداني..! - بقلم: محمد عبدالحميد








8 حزيران 2018   ..هكذا خسر قطاع غزة أكثر من 40% من مساحته..! - بقلم: وسام زغبر





27 اّذار 2011   عداد الدفع المسبق خال من المشاعر الإنسانية..!! - بقلم: محمد أبو علان

13 شباط 2011   سقط مبارك فعادت لنا الحياة - بقلم: خالد الشرقاوي

4 شباط 2011   لا مستحيل..!! - بقلم: جودت راشد الشويكي


26 حزيران 2019   كتابٌ، ولكنه حقلُ ألغام..! - بقلم: توفيق أبو شومر


23 حزيران 2019   أغنية.. اثبتوا على المواقف..! - بقلم: نصير أحمد الريماوي




8 كانون ثاني 2011   "صحافة المواطن" نافذة للأشخاص ذوي الاعاقة - بقلم: صدقي موسى

10 تشرين ثاني 2010   رساله .. - بقلم: جودت راشد الشويكي

3 تشرين ثاني 2010   شخبطة صحفية - بقلم: حسناء الرنتيسي

27 تشرين أول 2010   المدلل .. - بقلم: جودت راشد الشويكي

21 تشرين أول 2010   فضفضة مواطنية - بقلم: حسناء الرنتيسي


4 اّذار 2012   الطقش


26 كانون ثاني 2012   امرأة في الجفتلك



 
 
 
top

English | الصفحة الرئيسية | كاريكاتير | صحف ومجلات | أخبار وتقارير | اّراء حرة | الإرشيف | صوتيات | صحفيون وكتاب | راسلنا

جميع الحقوق محفوظة © لشبكة  أمين الأعلامية 2019- 1996 
تصميم وتطوير شبكة أمين الأعلامية