Borderland Pop: Arab Jewish Musicians and the Politics of Performance:

Galit Saada-Ophir

This article deals with the emergence of a popular musical field as an Arab Jewish borderland on the margins of the Middle East conflict. This borderland has crystallized as a site of empowerment for some Arab Jews, mostly Yemenites, and has simultaneously encompassed multiple ethnic conflicts. The conflicts have emerged between the borderland itself and the dominant Israeli musical style and concurrently through the inner struggles between different Arab Jewish styles competing for cultural supremacy. This study demonstrates the paradoxical nature of the Arab Jewish musical borderland, in which frequent crossings of musical borders not only fail to breach national boundaries but also serve to sustain them.

Access to this content is restricted.

  • If you are a AAA member please login to obtain full-text access.
  • If you are not a AAA member you can find out more information and join here https://avectra.aaanet.org/eweb/DynamicPage.aspx?webcode=verify.
  • If you are a library patron of an academic institution, and are experiencing an access issue please contact your library administrator for assistance.
  • If you would like to purchase online access to this single article please locate the article on Wiley Online Library or contact a Wiley-Blackwell customer service representative at cs-journals@wiley.com.