Jewish Contiguities and the Soundtrack of Israeli History

Global food price spikes in 2008 and again in 2011 coincided with a surge of political unrest in low- and middle-income countries. Angry consumers took to the streets in scores of nations. In some places, food riots turned violent, pressuring governments and in a few cases contributed to their overthrow. Foreign investors sparked a new global land rush, adding a different set of pressures. With scientists cautioning that the world has entered a new era of steadilyrising food prices, perhaps aggravated by climate change, the specter of widespread food insecurity and sociopolitical instability weighs on policymakers worldwide. In the past few years, governments and philanthropic foundations began redoubling efforts to resuscitate agricultural research andtechnology transfer, as well as to accelerate the modernization of food value chains to deliver high quality food inexpensively, faster, and in greater volumes to urban consumers. But will these efforts suffice? This volume explores the complex relationship between food security and sociopolitical stability up to roughly 2025. Organized around a series of original essays by leading global technical experts, a key message of this volume is that actions taken in an effort to address food securitystressors may have consequences for food security, stability, or both that ultimately matter far more than the direct impacts of biophysical drivers such as climate or land or water scarcity. The means by which governments, firms, and private philanthropies tackle the food security challenge of thecoming decade will fundamentally shape the relationship between food security and sociopolitical stability.Jewish Contiguities and the Soundtrack of Israeli History revolutionizes the study of modern Israeli art music by tracking the surprising itineraries of Jewish art music in the move from Europe to Mandatory Palestine and Israel. Leaving behind cliches about East and West, Arab and Jew, this book provocatively exposes the legacies of European antisemitism and religious Judaism in the making of Israeli art music.Shelleg introduces the reader to various aesthetic dilemmas involved in the emergence of modern Jewish art music, ranging from auto-exoticism through the hues of self-hatred to the disarticulation of Jewish musical markers. He then considers part of this musics' translocation to Mandatory Palestine, studying its discourse with Hebrew culture, and composers' grappling with modern and Zionist images of the self. Unlike previous efforts in the field, Shelleg unearths the mechanism of what he calls"Zionist musical onomatopoeias," but more importantly their dilution by the non-western Arab Jewish oral musical traditions (the same traditions Hebrew culture sought to westernize and secularize).And what had begun with composers' movement towards the musical properties of non-western Jewish musical traditions grew in the 60s and 70s to a dialectical return to exilic Jewish cultures. In the aftermath of the Six-Day War, which reaffirmed Zionism's redemptive and expansionist messages, Israeli composers (re)embraced precisely the exilic Jewish music that emphasized Judaism's syncretic qualities rather than its territorial characteristics. In the 70s, therefore, while religious Zionistcircles translated theology into politics and territorial maximalism, Israeli composers deterritorialized the national discourse by a growing return to the spaces shared by Jews and non-Jews, devoid of Zionist appropriations.