He surveys music scenes in Morocco, Egypt, Israel/Palestine, Lebanon, Iran, and Pakistan, meeting and performing with metal and hip-hop musicians who are creating their craft in dire environments. But LeVine is also a professor of Middle Eastern history, holding a doctorate in that field and Islamic studies. That kind of strong intellectual foundation enables him to avoid the easy route of 'jam band travelogue' as he puts the musicians' experiences in a broader context, seeking out and probing various other leaders, media figures, bloggers, activists and speakers to round out the complex dimensions of making music in the MENA.
A companion CD has been planned for release, but the web site has some conflicting info; the home page says it will be out as a 'pre-holiday' release, but info on the site's 'album' page still lists the release with a past due date of September. The embedded promo YouTube video on both pages also doesn't play, saying the video has been set to private. Hope they can get that bug fixed.
If he does a revised edition of the book, I hope he considers a mention or look at the Bangladeshi Islamic music scene, if any; while they don't have to operate under anywhere near the oppressive parameters other artists in the book do (at least to my knowledge), a line or graf about any cutting-edge musical Islamic expression going on there would have been interesting to note in context of the Pakistani section. Also, in view of the general media suppression in other countries that Dayem spoke about in the Berkelely conference covered in the previous post, I'm wondering how musicians are faring in Syria, Tunisia, Iraq, and other MENA locales.
The book is a must-read for anyone wanting to understand the powerful range of thought and expression among youth in Islamic countries. Western traditional media puts its own much milder form of information gatekeeping in place by not giving enough due light to these kinds of alternative voices and struggles throughout the Islamic world.
Two quick related postscripts: 1) A good corollary to LeVine's book -- if you're not familiar with it -- is the documentary DVD Heavy Metal In Baghdad , which follows Iraqi metal band Acrassicauda over several years and across three countries. It's an intense, haunting bit of film-making and well worth a view.
2 ) Huma Yusuf -- whose work documenting Pakistani new media is covered in the previous post -- wrote an eloquent blog post last week entitled
"Beyond The Culture War", about the need for art to "propose counter-narratives to the dominant perspective" (elegantly stated).
In her article she frames the question by noting, in part, the following:
...Many have bemoaned the Taliban’s efforts to purge the Frontier province of music and dancing. Outrage was expressed when the music department at Punjab University was forced to relocate off-campus after receiving threats from an Islamic student organisation. These days, many secular-minded Pakistanis are speaking out against rock and pop acts for failing to criticise the Taliban through their music; their disappointment implies a belief that music effects social change. But this September, a different take on the plight of Pakistani music emerged. Multan’s Bahauddin Zakariya University closed down its music department, blaming a ‘public lack of interest.’ The college’s principal claimed that the number of enrolled students had dropped from 30 to two, making it unfeasible to keep the department going.
Riaz’s pessimism and the varsity example quoted above indicate that the significant disagreement about cultural matters is not only between extremists and moderates. Rather, it is between those who believe that art can play a redeeming role in society, and those who just don’t care. Reframing the culture war this way raises the question of whether there is any meaningful connection between artistic practice and the shape of civil society. ...
She goes on to make the case that there is indeed a necessary and meaningful connection. As Moe Hamzeh of the Lebanese group the Kordz says in LeVine's book, "music can't be lazy" (a motto I've tried to uphold in my own musical work as well).