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  • The Homelands Blog

    Sandy to join book subject in LA concert

    Homelands’ Sandy Tolan will appear with the subject of his most recent book in a concert in Los Angeles on September 15. The show, at Zebulon Café, will feature Palestinian musician Ramzi Aburedwan and his …

  • The Homelands Blog

    Children of the Stone Makes Booklist Top Ten

    Sandy Tolan‘s Children of the Stone has been named one of Booklist‘s Top 10 Art Books of 2015. The news was published in the magazine’s November 1, 2015, issue on the arts. Reviewer Donna Seaman wrote: “Tolan illuminates …

  • The Homelands Blog

    Music as armor, statement, and salve

    Music, occupation, hope, despair, healing, and the terrible weight of history are all the subjects of Sandy Tolan‘s rapturously reviewed new book, Children of the Stone: The Power of Music in a Hard Land.  While you …

  • Sandy Tolan

    Special Projects

    Children of the Stone

    Sandy Tolan

    Special Projects

    Children of the Stone

    Sandy Tolan’s book about freedom and conflict, determination and vision, and the potential of music to help children everywhere see new possibilities for their lives.

    Children of the StoneIt is an unlikely story. Ramzi Hussein Aburedwan, a child from a Palestinian refugee camp, confronts an occupying army, gets an education, masters an instrument, dreams of something much bigger than himself, and then, through his charisma and persistence, inspires scores of others to work with him to make that dream real. The dream: a school to transform the lives of thousands of children – as Ramzi’s life was transformed – through music.

    Musicians from all over the world come to help. A violist leaves the London Symphony Orchestra to work with Ramzi at his new school, Al Kamandjati. An aspiring British opera singer moves to the West Bank to teach voice lessons. Daniel Barenboim, the eminent Israeli conductor, invites Ramzi to join the West-Eastern Divan Orchestra, which he founded with the late Palestinian intellectual, Edward Said.

    “Ramzi has transformed not only his life, his destiny, but that of many other people,” Barenboim says. “This is an extraordinary collection of children from all over Palestine that have all been inspired and opened to the beauty of life.”

    In Children of the Stone: The Power of Music in a Hard Land, Homelands co-founder Sandy Tolan chronicles Ramzi’s journey – from stone thrower to music student to school founder – and shows how, through his love of music, he created something lasting and beautiful in a land torn by violence and war.

    This is a story about the power of music, but also about freedom and conflict, determination and vision. It’s a vivid portrait of life amid checkpoints and military occupation, a growing movement of nonviolent resistance, the prospects of musical collaboration across the Israeli-Palestinian divide, and the potential of music to help children everywhere see new possibilities for their lives.

    For book tour information, articles, excerpts, and other resources, visit Sandy’s author page on Facebook or his blog, Ramallah Cafe.

    Reviews

    “Eye-opening… Tolan’s exhaustive research and journalistic attention to detail shine through every page of this sweeping chronicle.” – Publishers Weekly

    “[Tolan] portrays the multigenerational Israeli-Palestinian conflict by focusing on the life and musical abilities of one youngster, Ramzi Hussein Aburedwan, and his family and friends… This is an engrossing and powerful story, moving skillfully amid the failure of the never-ending battles and ‘peace’ talks between Israel and Palestine and the determination of one brave young man to change his world.” – starred review, Booklist

    “A resolute, heart-rending story of real change and possibility in the Palestinian-Israeli impasse.” – Kirkus Reviews

    “A non-fiction account that reflects one individual’s belief in the power of music and culture to transform lives. His story is proof of the famous words of Margaret Mead – ‘Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.’” – Yo-Yo Ma

    “Somewhere amidst the separation barriers and the countless checkpoints, the refugee camps and the demolished homes, the fruitless negotiations and endless conflict, there is a people yearning for a life of dignity and normalcy. You won’t see them on TV or in many newspapers. But you will find them in The Children of Stone, Sandy Tolan’s moving account of the dispossessed children of Palestine, and the transformative power that music has had in giving them meaning and reason for hope.” – Reza Aslan, author of No God But God  and #1 New York Times bestseller Zealot: The Life and Times of Jesus of Nazareth 

    “Children of the Stone is alive with compassion, hope, and great inspiration. It is not necessary to believe in music’s power to defeat evil in order to be enchanted by this wonderful story.” – Tom Segev, Israeli historian and author of One Palestine, Complete

    “Sandy Tolan’s narrative artistry fuses the coming of age of a talented, ambitious, and fiercely dedicated musician with the story of Israel’s occupation of the Palestinian territories conquered in 1967. A major contribution to our understanding of who they are and essential to a political resolution of the conflict.” – Joel Benin, Donald J. McLachlan Professor of History, Stanford University

    “Sandy Tolan has produced another gem on what is happening under the surface in Palestine. The book contains enthralling biographical trajectories of ordinary people fighting against the odds. Written in the style of investigative journalism, the book is riveting and uplifting, without skirting issues of contestation and controversy.” – Salim Tamari, Professor of Sociology, Bir Zeit University (West Bank), and author of Year of the Locust

    Date

    April 2015

    Outlets

    Bloomsbury USA

    Tags

    Themes: Peace & Conflict, Lives, Culture
    Regions: Middle East
    Media: Text
    Other Contributors: Sandy Tolan
    Other Tags: music, intifada, Palestine, Ramallah, Ramzi Aburedwan, viola, West Bank, israel

  • The Homelands Blog

    Praise rolls in for Sandy Tolan’s new book

    Sandy Tolan’s new book, Children of the Stone: The Power of Music in a Hard Land will be published in April by Bloomsbury USA. Sandy will launch the book on April 21 at the Los Angeles Public Library, then head out on …

  • Chris Brookes

    Worlds of Difference

    A Map of the Sea

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    Chris Brookes

    Worlds of Difference

    A Map of the Sea

    For centuries, the Newfoundland fishery was hailed as the greatest in the world. Then, in 1992, the cod disappeared. Now the islanders must find a way to keep that culture from going the way of the cod. An award-winning meditation on memory, fishing, music, and dance.

    In Newfoundland today, there are two sounds that haunt me. The first one I heard twelve years ago. I was talking with the great traditional singer Anita Best about the sudden closure of the North Atlantic cod fishery. This cod stock was once the largest fish biomass on the planet. A year earlier Canadian fisheries scientists had belatedly woken up to signs that the cod were in serious trouble. A temporary fishing moratorium had been announced in hopes the stock would rebound. As Anita and I chatted then, one year into the moratorium, the signs were not good. People were beginning to think the unthinkable.

    In public the talk was all about the economic impact. Thirty thousand fishery workers were out of work. But Anita’s concern was cultural. “I fear,” she said, “that the codfish off Newfoundland may be like the buffalo on the Great Plains. When they were wiped out the repercussion wasn’t only economic for the societies that depended on them. It pulled the rug from under their whole culture. And I really think we may have done it here, just like they did to the buffalo.”

    I had asked her to sing a traditional song with the line “Lots of fish in Bonavist’ harbour,” and as I held my microphone her voice broke. “Please turn your tape off,” she said, and her body shook with a great wailing sob.

    Today, the fish haven’t come back, and the cod fishery is still closed. Rural Newfoundlanders have left in droves. Some communities are turning to tourism for survival, and Petty Harbour is one of these. They’ve developed a four-year plan to attract tourists to come and see their 500-year-old fishing history. Central attractions will be a museum and fishery heritage interpretation center. Mayor Nat Hutchings says, “It’s a culture shock. I mean, your culture all your lifetime is the fishery. You’re living and breathing the fishery and all of a sudden, that’s gone. It’s like a death. But after awhile you start thinking I’ve got to do something. And that’s what Petty Harbour is doing. We’ve moved from fishing for cod, to fishing for tourists.”

    Other rural communities have died. The 17th-century fishing community of Harbour Deep vanished from the map three years ago when the last of its residents left. But its ghost survives in the culture, because of a traditional “set dance” that Harbour Deep people had danced for longer than anyone could remember. It was unique to the place. Although the community has disappeared, the dance survives and is now stepped out by other feet – ironically including those of summer tourists looking for an “authentic” taste of Newfoundland outport life.

    The tapping of those feet is the other sound haunting me. A 500-year-old society trying to keep its feet after cataclysmic change. An economy once based on the greatest fishery in the world, now retooling to replay its memory to strangers.

    – Chris Brookes

    Date

    January 28, 2005

    Outlets

    Living on Earth

    Tags

    Themes: Economy, Culture
    Regions: North America
    Media: Text, Audio
    Other Tags: tourism, music, cod, dance, fisheries, Newfoundland

  • Julian Crandall Hollick

    Worlds of Difference

    Occitan Rock

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    Julian Crandall Hollick

    Worlds of Difference

    Occitan Rock

    Since Napoleon declared it the official language of the republic, French has been at the core of national identity. Now some southerners are challenging that notion, using a blend of reggae, Brazilian rhythms, and the musical forms of the medieval troubadors.

    Before 1789, France was a loose community of regions, each with its own languages and dialects: Alsatian, Breton, Catalan, Corsican and perhaps 70 more. Occitan was the family of languages from Occitanie, the region that stretched from Bordeaux and the Pyrenées in the southwest to the Alps and northern Italy in the southeast. It and its several variants were linked to a rich creative history, particularly in literature and song.

    Then came the French Revolution, and then Napoleon, and a new constitution that declared France “one people, one nation, one language.” Occitan all but disappeared.

    But not completely. More than 200 years later, Occitan is still spoken in the French countryside and in the north of Italy, where it’s recognized as an official regional language. (A 2001 attempt by the French culture ministry to recognize regional languages was rejected by the country’s constitutional council.) No one really knows how many people use Occitan regularly because the French government has never done a survey. Unofficial estimates suggest that several hundred thousand speak one or another form of Occitan as a private, or “intimate” language, at home and among close friends. Almost nowhere in France is it used in the workplace.

    Even the Occitan accent is effectively banned from public life. If one wants to get ahead in the French civil service, one must drop one’s Occitan or Provençal inflections. (Provençal is perhaps the most widely used variant of Occitan.) Today just a handful of private secondary schools offer classes in Occitan. A few cultural groups, inspired by the Nobel Prize-winning 19th century Provençal poet Frédéric Mistral, quietly promote the language and literature.

    The most visible – and audible – proponents of Occitan today are not linguists or history buffs, but contemporary musicians. These are no purists: their music blends modern folk music, the music of the medieval troubadors, Brazilian rhythms and, most notably, Jamaican reggae. The two groups featured in this piece – the Fabulous Trobadors from Toulouse and Massilia Sound System from Marseille – play highly danceable music whose often-humorous (and often-political) lyrics mix French with Occitan, so as not to alienate French-speaking audiences. Other groups add a dose of Beur, the popular Arabic spoken by North Africans all over France.

    The result is a music that borrows cheerfully across centuries and borders – but that signals an increasingly serious disenchantment with the suppression of regional identities, languages and cultures.

    – Julian Crandall Hollick

    Date

    August 21, 2004

    Outlets

    All Things Considered

    Tags

    Themes: Culture
    Regions: Europe
    Media: Audio, Text
    Other Tags: France, language revitalization, Occitan, music

  • Dmae Roberts

    Worlds of Difference

    Tell Me Wai

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    Dmae Roberts

    Worlds of Difference

    Tell Me Wai

    Musicians Mina Ripia and Maaka McGregor learned to speak Maori in college, after the New Zealand government made it an official national language. Now they’re part of a new generation of Maoris who have decided to move their culture forward rather than leave it behind.

    I’ve been interested in Maori culture since I saw my first Tiki jade pendant and wondered about the story behind the symbolic carving. The movie “Whale Rider” further sharpened my desire to visit New Zealand and learn more about the Maoris.

    In 2003, I spent a month in beautiful Aotearoa (the Maori name for New Zealand means “land of the long white cloud”). I toured Maori towns and went to traditional performances and concerts. What stood out was the palpable sense of pride felt by both performers and audiences. It seemed a new pride, fresh and hopeful. And in fact I learned that it was new, having emerged largely after the Maori language became “official” in 1987.

    I was especially impressed by how the revival of the language and the resurgence of interest in Maori traditions had not just boosted the morale of the Maoris, but of white New Zealanders as well. Everywhere in New Zealand, Maori is present alongside English in street signs, in advertising and on television. Every New Zealander I met used the Maori phrase kia ora – an all-purpose greeting, goodbye, and exclamation.

    It is against that backdrop that I discovered WAI. The name means “water” in Maori. Many contemporary New Zealand groups sing in Maori, but WAI does it expressly with the mission of passing on the language on to the young. I heard their CD and knew I had to contact them.

    Mina Ripia and Maaka McGregor welcomed me into their home on Titahi Bay near Wellington, the capital of New Zealand. They told me that they’d only learned to speak Maori in college. They had been part of the English-language music scene before they decided to sing strictly in the language of their ancestors. When I asked Mina to identify herself she launched into a long recitation of the names of those ancestors, ending with her own name as the latest descendant.

    Maaka took a 200-year-old conch shell that had been soaking in the bathtub and played it like a trumpet. As I was to learn when I saw WAI perform in Seattle, they use the shell to begin their shows. Then comes the electronica, which seems to grow organically from beats of the poi – balls on strings that they swing so they hit each other in rhythmic patterns.

    Whenever I heard traditional Maori singing in New Zealand, the music reached deep inside me – the plaintive calls to ancestors, the retelling of old stories that seemed somehow to insist on their continued relevance, even their urgency. WAI’s music has that sense of urgency to me. It seems to say, “Here I am. Remember me. I’m alive.”

     – Dmae Roberts

    Date

    July 26, 2004

    Outlets

    NPR

    Tags

    Themes: Culture
    Regions: Asia / Oceania
    Media: Audio, Text
    Other Tags: language revitalization, Maori, New Zealand, music

  • Chris Brookes, Michele Ernsting

    World Views

    Mucho Corazón

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    Chris Brookes, Michele Ernsting

    World Views

    Mucho Corazón

    The story of a Dutchman, a Cuban woman, and true love in a Cuban factory for pipe organs. A chronicle of passion, music, and international politics.

    The story of a Dutchman, a Cuban woman, and true love in a Cuban factory for pipe organs. A chronicle of passion, music, and international politics.

    Date

    February 1999

    Outlets

    This American Life

    Tags

    Themes: Lives
    Regions: Caribbean, Europe
    Media: Audio
    Other Tags: politics, music, Cuba, love, cuban, dutch, dutchman