Haaretz - Israel News -
[Cached Version]
Published on: 2/23/2005
Last Visited: 2/23/2005
Musician Khaled Jubran, born in the Galilee and living in Jerusalem, doesn't `do' Israel
Khaled Jubran, a composer and oud player who lives in Jerusalem, returned from a concert in Cairo last week, where he performed before a sold-out audience at the old conservatory, built in the 1920s.Next month, Jubran will perform in the emirates of Bahrain and Oman - in the Arabian Desert, across from the palace of the sultan of Oman, who is in the habit of listening to concerts, unseen, from one of the palace spires. ("A thousand and one nights," Jubran laughs).
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Jubran was born in the Galilee village of Rama and got his start from his father, a musician and instrument maker.He studied at the Jerusalem Academy of Music and Dance; he subsequently joined its faculty.Jubran left two years later and began teaching at a conservatory in Ramallah.He now has his own music institute on the outskirts of Ramallah."I teach in Palestine; the institute is a registered nonprofit supported by foundations - that's how it is with culture in the Third World - and I live frugally," he says.He has appeared at the Mozart Hall of the Hugo Wolf Academie in Stuttgart, Germany, the Sakakini Cultural Center in Ramallah and on other stages around the world, but has avoided performing in Israel.
How is it that a musician like you, an Israeli ...
Jubran: "No, not Israeli.A person with an Israeli passport."
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Jubran does not take advantage of the nightlife in Israeli cities, does not eat in restaurants here or do his shopping at the local supermarket."Outside the home, my only connection here is with the barber where I have my hair cut," he says."The rest is formal: I pay property tax and I have an Israeli passport that I don't even want."
So why don't you just throw it away, and be done with it?
Jubran: "Because I'm an exploiter, okay?
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In an interview three years ago, Jubran expressed his opposition to collaboration between Israeli and Palestinian musicians, in the territories or in Israel.He said that the collaborations were meant solely to assuage the consciences of Israeli intellectuals, that the programs flourished because of large budgets, and that they reflected a cultural colonialism.