Ted, reading this stuff feels like someone opened a window and fresh air fills the room. We need signs of humanity's ability to be more than a pack of hyenas.
It's interesting to note that I always used to listen to a fantastic Paco de Lucia album called Zyryab. I had no context about the meaning of that word until now!
Ted another captivating, lovely while enlightening article! Thank you for the knowledge and the passion with which it was written. From one music lover to another, gracias 🙏
Ted, this is an insightful article on how Cordoba was a multicultural source of innovation. But I think you are accepting the convivencia mythology for more than it actually was. Taxation, forced conversion (and exile if refused), periodic massacres, and second class citizenship for dar al-kitab (“people of the book” - monotheists under Islam) is not the same as tolerance, sharing, and welcoming. It’s worth reading this: https://tudorsandotherhistories.wordpress.com/2018/01/22/the-myth-of-convivencia-nostalgic-storytelling/
Judaism is greatly indebted to the intellectual and poetic culture of Islam, which it absorbed greatly during this period. But some of these innovations were not born of sharing, but of the vicissitudes of majority-minority conflict. For example: Jews in medieval Spain wrote lots of secular poetry (including homoerotic poetry) in the style of their Arabic poetic counterparts. This was not because of a generous spirit of the Arabs, but to combat Islamic cultural supremacism: One of the beliefs of medieval Islam was that God revealed himself in the most beautiful language in the world -- Arabic -- and so that the beauty of Arabic poetry was a testament to the truth and supremacy of Islam. Jews wrote these poems in order to to show that they could write equally beautiful poetry in their own sacred language, Hebrew. This is what sociologists call “expressive hostility” from a minority culture hungering for empowerment.
Musical innovation certainly follows this Cordoba model in the way you describe. And humanity shines through individual relationships. But music is also a form of power, and the exchange of musical forms is perhaps part of the always moving cultural battle lines between minority and majority cultures. Particularly in this era, the mirage of convivencia (and its beautiful artistic products) fades into a reality of hegemony, oppression, and striving. That’s was also true in Venice, New York, and New Orleans. So there’s a lesson there, but I’m not sure it’s the one you wrote about. With admiration and respect -- Matt
The most insular places I've lived, have had the least amount of creativity and growth. Where is today's Cordoba? The internet? Do we no longer need a city in order to be creative and innovative? Can we reach that level of interaction, growth, and creativity, without broad physical contact?
With the caveats that I am from Spain and not a historian, I can trace the wisdom of *convivencia* to the most astonishing episodes of Spain’s history. Aspects of the cultural exchanges in America starting in the XV century and beyond, and the transition to a democracy in the 1970s and 1980s post-Franco, come to mind.
Oh, my Córdoba! Thank you for reminding me how proud I am to be a "Cordobesa". I'll be happy to show you around and introduce you to musician historians here to if you ever decide to visit.
This tendency for trading centers, for cities with multicultural populations was also evident in West African cities as Timbuktu and even as far south as Ile Ife and, in Asia, along the Silk Road in cities as Samarkand and Tashkent.
Now I'm wishing I'd stayed more than a few hours in modern Cordoba. Just long enough to see the old mosque absorbed inside the current Cathedral. Weary and unimpressed, we moved on.
"Which city is our best role model in creating a healthy and creative musical culture?"
Does creativity need a role model? Isn't the creation of a creative music culture creating something - according to item #8 of the 40 precepts - for which to have least allegiance? Population density and diversity aside, who is to be trusted with the creation of the creative culture if not the creative themselves on their own individual terms? Do we dare use a creative culture roadmap from the Middle Ages? How has that democratization of art improved things?
Ted, as usual, you provide provocative fodder for thought and discussion.
In the words of that renown British philosopher, Roger Waters, " Hey! Teachers! Leave them kids alone!"
There's some relevance there beyond, as they say, the scope.
Love this and thank you. An elegant examination of the impact of true diversity on culture which points well beyond the evolution of music. Your writings force me to think beyond the bounds of the easy and comfortable. Obviously this is in itself evolutionary and highly valued.
well, it was on my list. I always felt that the Leaning Tower of Pisa arched structure (unique in a bell-tower) it's a vertical version of Cordoba's double arches. Pisa raided the Muslim Balearic Islands and brought back plenty of loot, including artistic ideas and the griffin now sitting on top of the Cathedral...
In my world of words from the past, tens of thousands of them, I've seen a beautifully sad song of the pain of parting, as hunter-gatherers were being drawn to new port towns where speaking humans were setting up shops, teaching trades, and bringing expertise in from around the world. Your story resonates of the same poignancy. My hobby has revealed that a revolutionary skill in stone work - striking a blade from an invaluable core stone - formed a metaphorical image in song for the departing of a dear one forever. By the outlier magnitude of the vocabulary for this one "moment of truth", it can be appreciated that song was the actual vehicle for the spread of full language.
Once again, concise, brilliant and so relevant. Your continuous drip of bite sized knowledge serves as instant hydration for conversations and assimilation with memetic like traction in our circles. I don’t know how you do it, but keep it coming, Ted. Thank you.
great piece Ted, thanks, I enjoyed. I didn't realize Cordoba was so big in 1050, nor that the byzantine empire went that far east. Yes is seems obvious that innovation comes from mixing and "convivencia" but I never thought of it for music, only for innovation in general.
Ted, reading this stuff feels like someone opened a window and fresh air fills the room. We need signs of humanity's ability to be more than a pack of hyenas.
It's interesting to note that I always used to listen to a fantastic Paco de Lucia album called Zyryab. I had no context about the meaning of that word until now!
Ted another captivating, lovely while enlightening article! Thank you for the knowledge and the passion with which it was written. From one music lover to another, gracias 🙏
Ted, this is an insightful article on how Cordoba was a multicultural source of innovation. But I think you are accepting the convivencia mythology for more than it actually was. Taxation, forced conversion (and exile if refused), periodic massacres, and second class citizenship for dar al-kitab (“people of the book” - monotheists under Islam) is not the same as tolerance, sharing, and welcoming. It’s worth reading this: https://tudorsandotherhistories.wordpress.com/2018/01/22/the-myth-of-convivencia-nostalgic-storytelling/
Judaism is greatly indebted to the intellectual and poetic culture of Islam, which it absorbed greatly during this period. But some of these innovations were not born of sharing, but of the vicissitudes of majority-minority conflict. For example: Jews in medieval Spain wrote lots of secular poetry (including homoerotic poetry) in the style of their Arabic poetic counterparts. This was not because of a generous spirit of the Arabs, but to combat Islamic cultural supremacism: One of the beliefs of medieval Islam was that God revealed himself in the most beautiful language in the world -- Arabic -- and so that the beauty of Arabic poetry was a testament to the truth and supremacy of Islam. Jews wrote these poems in order to to show that they could write equally beautiful poetry in their own sacred language, Hebrew. This is what sociologists call “expressive hostility” from a minority culture hungering for empowerment.
Musical innovation certainly follows this Cordoba model in the way you describe. And humanity shines through individual relationships. But music is also a form of power, and the exchange of musical forms is perhaps part of the always moving cultural battle lines between minority and majority cultures. Particularly in this era, the mirage of convivencia (and its beautiful artistic products) fades into a reality of hegemony, oppression, and striving. That’s was also true in Venice, New York, and New Orleans. So there’s a lesson there, but I’m not sure it’s the one you wrote about. With admiration and respect -- Matt
The most insular places I've lived, have had the least amount of creativity and growth. Where is today's Cordoba? The internet? Do we no longer need a city in order to be creative and innovative? Can we reach that level of interaction, growth, and creativity, without broad physical contact?
With the caveats that I am from Spain and not a historian, I can trace the wisdom of *convivencia* to the most astonishing episodes of Spain’s history. Aspects of the cultural exchanges in America starting in the XV century and beyond, and the transition to a democracy in the 1970s and 1980s post-Franco, come to mind.
Oh, my Córdoba! Thank you for reminding me how proud I am to be a "Cordobesa". I'll be happy to show you around and introduce you to musician historians here to if you ever decide to visit.
This tendency for trading centers, for cities with multicultural populations was also evident in West African cities as Timbuktu and even as far south as Ile Ife and, in Asia, along the Silk Road in cities as Samarkand and Tashkent.
Now I'm wishing I'd stayed more than a few hours in modern Cordoba. Just long enough to see the old mosque absorbed inside the current Cathedral. Weary and unimpressed, we moved on.
Ted, 'interesting read.
"Which city is our best role model in creating a healthy and creative musical culture?"
Does creativity need a role model? Isn't the creation of a creative music culture creating something - according to item #8 of the 40 precepts - for which to have least allegiance? Population density and diversity aside, who is to be trusted with the creation of the creative culture if not the creative themselves on their own individual terms? Do we dare use a creative culture roadmap from the Middle Ages? How has that democratization of art improved things?
Ted, as usual, you provide provocative fodder for thought and discussion.
In the words of that renown British philosopher, Roger Waters, " Hey! Teachers! Leave them kids alone!"
There's some relevance there beyond, as they say, the scope.
Another serving here of the special Gioia dopesauce...😎 Thank you.
Love this and thank you. An elegant examination of the impact of true diversity on culture which points well beyond the evolution of music. Your writings force me to think beyond the bounds of the easy and comfortable. Obviously this is in itself evolutionary and highly valued.
well, it was on my list. I always felt that the Leaning Tower of Pisa arched structure (unique in a bell-tower) it's a vertical version of Cordoba's double arches. Pisa raided the Muslim Balearic Islands and brought back plenty of loot, including artistic ideas and the griffin now sitting on top of the Cathedral...
Mr. Gioia, Ted,
In my world of words from the past, tens of thousands of them, I've seen a beautifully sad song of the pain of parting, as hunter-gatherers were being drawn to new port towns where speaking humans were setting up shops, teaching trades, and bringing expertise in from around the world. Your story resonates of the same poignancy. My hobby has revealed that a revolutionary skill in stone work - striking a blade from an invaluable core stone - formed a metaphorical image in song for the departing of a dear one forever. By the outlier magnitude of the vocabulary for this one "moment of truth", it can be appreciated that song was the actual vehicle for the spread of full language.
Once again, concise, brilliant and so relevant. Your continuous drip of bite sized knowledge serves as instant hydration for conversations and assimilation with memetic like traction in our circles. I don’t know how you do it, but keep it coming, Ted. Thank you.
great piece Ted, thanks, I enjoyed. I didn't realize Cordoba was so big in 1050, nor that the byzantine empire went that far east. Yes is seems obvious that innovation comes from mixing and "convivencia" but I never thought of it for music, only for innovation in general.