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Questions for Speakers: Galeet Dardashti


Kyle’s Question: How important is it for you to incorporate Persian lyrics music with traditional Jewish music. Or do you see them as one of the same? What are some of the biggest challenges for you as a woman musician?

Jacob’s Question: How much do you think, if at all, Mizrahi and piyyutim has contributed to a peaceful understanding or coexistence between not just Jews across the Middle East but between Jews and non-Jews? Is there more potential there in recognizing and acknowledging a shared heritage and respect in general?

Jourdan’s Question: “Yúdice views as dangerous the “globalization of culture,” in which these
types of organizations fund the specific cultural programs they deem “worthy” and
“ethical,” because such “cultural practice runs the risk of responding to performative
injunctions…that are at least partly scripted”
Can you explain further the idea of “globalization of culture” and what that means in relation to the Israeli-Palestinian struggle to maintain culture and identity within the conflict?

Leah’s Question: There is a clear paradox in your writing on piyyutim. In order for it to become known to more people in Israel, it must be marketed to them and popularized within the culture; however, to do so might compromise its integrity and sanctity. How have educators, performers, and composers of piyyutim been able to navigate this? Has piyyutim become watered down or have the lessons continued to be successful in sharing the art of Mizrahi poetry.music, without compromising its particular qualities?

Maggie’s Question: As a persian woman in the entertainment world, you receive much criticism from conservative religious groups? How does your being Jewish in an “Arab World” affect your day to day life?

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