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 others, 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.
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?
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.
Excerpted from: ‘Madonna’s Fake Revolution: Eurovision, Cultural Hegemony and Resistance’.