A Youth Multicultural Orchestra that Opens Debate

Brenda Noemi Laguarta

ISFD N° 41

Teacher: Stella Maris Saubidet Oyhamburu

Language and Written Expression IV

                             A Youth Multicultural Orchestra that Opens Debate

In 1999, the West-Eastern Divan orchestra was created, assembling young musicians from Spanish, Jewish, Israeli, Palestinian, and other Arab backgrounds. One of its founders, the Argentine-Israeli pianist and conductor Daniel Barenboim, conceptualized this orchestra as a ‘utopian republic’ based on music. (Barenboim, 2006, lecture 4) He expressed that in music, one had to be aware not only of oneself but also of ‘the other’, and in this sense music is not ‘an expression of what life is, but an expression of what life could be, or what it could become’. Although this project with the aim of coexistence was intended as a one-time event, it quickly evolved into a legendary orchestra. However, the idea of a musician’s being part of the West-Eastern Divan Orchestra gives rise to a great deal of debate, generating opposing claims regarding the impact on the socio-political field, the emotional sphere, and the construction of an individual identity.

‘My orchestra is a political laboratory’ (Barenboim, 2014), said the conductor to “The Telegraph” in an attempt to explain how the work of this multicultural group has a profound effect on society and politics. It cannot be denied that Barenboim’s ideas involve some disadvantages on this field, like being accused of ‘normalization and looking over obvious problems’, just as Mina Zikri, an Egyptian member of the orchestra, states it (Zikri, 2014). A further drawback to it, is people hatred, as Barenboim points out when he says that ‘many people absolutely hate [them] in the various countries where [his] players come from’, since ‘they think [they] are traitors to [their] own people’ (Zikri, 2014). Nevertheless, one argument in favour of the existence of this orchestra is that it imparts an encouraging message, showing that the Arab countries will not arrive to a solution through military means, but through dialogue and mutual understanding. In addition to this, Edward Said sustains that since they are not politicians,’ what [they] are really interested in is the power of music and discussion and culture to create a sense of equality and fellowship otherwise unavailable in the anguish and tension of polarized life in the Middle East’ (Said and Barsamian, 2003, p. 34). Clearly, the orchestra causes an impact on the socio-political field, but it also influences other areas.

Turning to the effect that being part of the West-Eastern Divan Orchestra origins in each individual, it can be said that there is proof that it generates mixed emotions. On the one hand, even some musicians acknowledge that meeting people who come from ‘parallel dimensions’ (Chaker, 2014) is emotionally and personally challenging, due to their ‘pre-conceived ideas’. This generates ‘some fighting and struggling’ (Kertsman, 2014) in the first place. But, on the other hand, being part of this orchestra means being immersed in a situation of ‘debate, dialogue and co-existence’. (Chaker, 2014) This means that there is a space for everyone to express his point of view, while the other people listen, show understanding and ‘learn to see other sides’ (Kertsman, 2014). And the greatest advantage is that, given these conditions, the members of this program can establish relationships of friendship with people who they would not even talk to. So, association with people from different cultures has a great influence on a person’s feelings.

And finally, there are also divergent opinions concerning the construction of an individual identity. Some critics advocate, that being part of the orchestra is negative because they believe that ‘one has to give up what he is and his beliefs in order to accept the other’ (Chaker, 2014). However, Solveig Riiser in his article titled “National Identity and the West-Eastern Divan Orchestra” sustains that ‘the creation of a common identity and common social values occurs because a negotiation takes place. Hence music can have a formative role in identity creation while at the same time embodying prior identities in its production.’ Consequently, being part of this project contributes to the construction of each musician’s personal identity through the expression of their own subjectivity, always respecting the other’s narrative.

Taking everything into account, it can be concluded that the idea of participating in a multicultural project like the West-Eastern Divan Orchestra, needs careful consideration, since there are opposing views in this regard. Although some people argue that the experience can have a negative impact on the socio-political field, the emotional sphere, and the construction of an identity, there are those who believe the opposite. These consider that, on the contrary, being part of the orchestra has a positive effect, spreading a message of mutual respect, stimulating dialogue and co-existence and contributing to the consolidation of a personal identity. Seen from this perspective it may be concluded that the many advantages of this decision outweigh the negative aspects of it.

Works Cited

Barenboim, D. (2006) Meeting in Music. BBC Radio Reith Lectures. Lecture 4. Retrieved on September 28, 2014 from http://www.bbc.co.uk/radio4/reith2006/lectures.html.

Chaker, L. (2014) Musicians Spotlights. WQXR Radio Interviews. Interview 1. Retrieved on         September 28, 2014 from http://www.west-eastern-divan.org/news/musician-spotlights-wqxr-radio-interviews/

Hewett, I. (2014) Daniel Barenboim: My orchestra is a political laboratory. The Telegraph. Retrieved on September 29, 2014 from http://www.telegraph.co.uk/culture/music/proms/11043891/Daniel-Barenboim-My-orchestra-is-a-political-laboratory.html

Kertsman, B. (2014) Musicians Spotlights. WQXR Radio Interviews. Interview 2. Retrieved on September 28, 2014 from http://www.west-eastern-divan.org/news/musician-spotlights-wqxr-radio-interviews/

Riiser, S. (2010) National Identity and the West-Eastern Divan Orchestra. Music and Arts in Action, Volume 2, Issue 2. Retrieved on September 28, 2014 from https://ore.exeter.ac.uk/repository/bitstream/handle/10036/3947/riiser_2010.pdf?sequence=1

Said, E. W. Barsamian, D. (2003) Culture and resistance. Oslo: Oktober.

Zikri, M. (2014) Musicians Spotlights. WQXR Radio Interviews. Interview 3. Retrieved on September 28, 2014 from http://www.west-eastern-divan.org/news/musician-spotlights-wqxr-radio-interviews/