Marcel Khalife and the war for “objective” art
What would happen if a venue told a group like Rage Against the Machine or Public Enemy that it could not perform unless it allowed the US Military Band to open for it?
I doubt the request would be met with much support, or that any venue would ever impose such restrictions on its performing artists, and yet that is precisely what happened to Lebanese composer and musician, Marcel Khalife, at the Ray and Jon Kroc Corps Community Center in San Diego. Khalife, on a tour in the United States, was informed by the venue that his show was to be canceled because it was “divisive” and “unbalanced,” and that the only remedy would be to have an Israeli perform on the same day.
What “divisive” and “unbalanced” mean in this context is a mystery, but they are definitely no strangers when it comes to art about the Palestinians. Just recently, a similar campaign was conducted against a mural depicting the apartheid wall in San Francisco made by artists in the youth community organization, HOMEY. Before a hearing at the San Francisco Arts Commission, the HOMEY artists were forced, due to a lack of resources, to enter into a “compromise” that the wall would be made to look less realistic, like the ominous symbol (and reality) of separation and disunity that it is, and more like a happy place surrounded by flora and hope. They were also asked to remove the kuffiyeh from one of the characters.
Increasingly, symbols that assert the Palestinians’ right to resist the brutality and violence of Israeli hegemony are being demonized and censored. Artwork and poetry that denounce Israel’s project of separating Arab from Jew in historic Palestine are called “divisive” and “unbalanced,” whereas actual instances of physical, ideological, and institutional separation–look, for example, at the apartheid wall, or at the separate lower schooling systems for Arabs and Jews in Israel, or more generally at the Zionist ideology of the state–are rationalized away, somehow escaping this label of “divisive” when that is exactly what they do, explicitly and unabashedly: divide and separate. Somehow, Israel has managed to twist this separation into a step towards peace, but just as other cases in history have shown, Palestinians and Israelis will never be separate but equal, and as long as they are not equal, there will likely be no lasting or meaningful peace.
The strange logic that supports this system of censoring all who recognize the Palestinians on equal terms goes beyond “divisiveness,” though. It’s directly related the idea of “bias” when it comes to any discussion that has to do with Israel. Even with strong evidence and reasoned analysis, anybody who concludes that Israel’s policies are unjust or discriminatory is treated as a “biased” party, and calls are made for “both sides” to be given a voice. The “other side” is always somebody whose line matches that of the Israeli Ministry of Foreign Affairs. Imagine if a venue hosting an engagement for a speaker against the war on Iraq was criticized for not presenting “both sides,” the other side being the now discredited position of the Bush administration.
That is what we need to accept, as well, when it comes to Israel and Palestine: that not all “sides” (and I speak here of rhetorical sides, more like analyses and opinions, not of any primitive ’sides’ like ‘the Israeli side’ or ‘the Palestinian side’) are equal. These are not sides relating to values that can never be reconciled, like when it comes to non-legalistic debates surrounding things like abortion and gay marriage. They are sides that relate directly to the world around us, and to our political interactions with it. They cannot all be true (though all of them can impart some useful information, usually not about what they intend).
Just like the Bush administration’s side in the Iraq war debate has been discredited, it is time to accept the fact that the Israeli government’s side on the Palestine issue has been equally discredited, and that repeatedly airing that side is not a matter of being “fair to both sides,” but rather, of sheer naivety and idiocy.
Khalife has found himself in the middle of this because he has elegantly and beautifully put earlier poetry of Palestinian poet Mahmoud Darwish to music. But it is especially strange to see him in the middle of this because music, and art more generally, has never been perceived as a field of dispassionate objectivity where one can be accused of being “unbalanced” or “biased.” The arts are traditionally considered a place for hyper-subjectivity, a place of independent and honest expression, a place where the only “side” is one’s own. Is it that those who have shut down his show wish to see the stunning limits of faux objectivity in other fields, extended to the arts? I would hope not. The objectivity of those fields is untrue anyway: we should be seeking the opposite. That is, the authenticity of the arts should subsume the rest of our existence, and we should totally abandon the harmful idea that we can exist in ‘objective’ worlds.
Marcel Khalife is playing in San Francisco on October 10. For more information, check out the tour schedule.
[Read more →]







