SCRATCHING THE IDEOLOGICAL CAGE FROM WITHIN

Studying Arik Shapira's 1982/2003 opera Aqedah (Binding), this article probes the boundaries of Shapira's resistance to the Zionist ideological apparatus. Having set the banishment of Ishmael (Genesis 21) side by side with the binding of Isaac (Genesis 22), Shapira highlighted the intricate network of correspondences between these two stories while restoring balance to Jewish victimhood, which usually excluded Ishmael in favour of politically actualising Isaac. To reflect the brutality embedded in these biblical stories (nationally appropriated or not), Shapira disintegrated the text into syllables to which he assigned mostly even durations and inert pitches; the result was a deliberately unemotional and stringent reportage, whose violent conveyance equalled its desemanticisation. Shapira's use of musical and textual ready-mades in the third movement of Aqedah is situated here alongside an oratorio that reverences similar ready-mades, and in so doing affirms the nationalisation of the Holocaust (Noam Sheriff's The Revival of the Dead), and a poem by Yizhak Laor, which marks a dialectical threshold Shapira could never cross. Despite his ensnarement, Shapira's almost vandalistic approach signalled the separation of art music from territorial nationalism.