Uncovering Bridges

Ghazi Faisal Al-Muliafi’s journey began with one statement from his grandfather, who was once a Kuwaiti pearl diving shipmaster: “All the men died at sea”. Now an ethnomusicologist at NYU Abu Dhabi, Ghazi has spent his career researching Kuwaiti pearl diving music and the lives of the pearl divers in order to connect with his ancestral past. In the process, his work has uncovered long lost narratives that have larger implications on how we think about cultural appropriation, tradition, and national identity. When Kuwait became a nation in 1961, the music of pearl diving became codified as a national signifier for the country. The music was no longer allowed to morph and change as it had for hundreds of years prior when the pearl divers were out at sea, travelling along their trading routes. Ghazi realized that his ancestors were global citizens in their own right and, without the current ideals about fixed heritage and national identity, they experienced a freedom of cultural sharing that we no longer have today. From this revelation, Boom.Diwan, Ghazi’s collaborative global jazz ensemble, was created. Inspired by the Kuwaiti pearl diving music of the Indian Ocean trade, with influences all the way from Zanzibar to Calicut, Boom.Diwan emphasizes fluidity and cross-cultural conversations through their music. Today, their work is a fusion of latin, jazz, and middle eastern influence. As we familiarized ourselves with Ghazi’s work, we realized that his research was in direct opposition to what we had been previously taught about cultural appropriation. We had believed culture and heritage to be fixed, and that sharing, especially in music, often resulted in backlash. When the utilization of African American Vernacular English (AAVE) and the improper use of Pan Asian aesthetics by white pop artists negatively affects marginalized groups, is there another model of cultural sharing that doesn’t cause harm? Told through the music that inspired his research, Ghazi’s story contains reflections on the difference between tradition and heritage, national identity, and practical examples of what cultural sharing can look like. We relate these ideas back to similar narratives around the world and explain what Ghazi’s research means for how we move forward in the conversation about cultural appropriation versus appreciation. Our deep dive into the history of this music and culture is perfect for music and history lovers alike, and anyone interested in exploring the concepts of heritage, tradition, and cultural appropriation.