Dr Moshe Morad
Lecturer in ethnomusicology, African music, Latin-American music, World Music, the music industry.
Head of Israel Radio music stations 88FM & Reshet Gimmel / IBA.
Radio broadcaster and journalist.
Presenter of “on location” world music programs on BBC Radio 3.
Music producer: compiled and produced over 50 CDs in various genres (UK and Israel).
PhD Music, SOAS / University of London (2013)
PhD dissertation: 'Fiesta de Diez Pesos': music as a space for identity, interaction, and
escapism, among gay men in Special Period Havana.
MMus Ethnomusicology, SOAS / University of London
MMus dissertation: Salsa & Falafel: Music & Identity among illegal Latino Immigrants in
Diploma in Social Anthropology, Birbeck College / University of London
2007- today: Ono Academic College, Ascolot/Open University, Tel Aviv University
- African Music
- World Music
- Latin-American Music
- The Music Industry
English - full professional proficiency
Hebrew – Native
Spanish, French – Limited working proficiency
Portuguese, Italian, Romanian – Elementary proficiency
2009 Tel Aviv, Israel: "XIV International Research Conference of LAJSA:
Latin American Jewish Experiences through Plural Lenses" (LAJSA/Tel Aviv University)
Paper presented: 'Falafel and Salsa': A comparison between Israeli
Muzika Mizrahit and Salsa Music.
2011 London, UK: "Art Musics of Israel: Identities, Ideologies, Influences" (JMI
/SOAS, University of London)
Participation in round table panel: Crossing Cultures: Musical Encounters.
2012 Hamburg, Germany: "Interkulturelles Abenteuer: Musik in Israel
Sounds of Israel symposium" (Elbphilharmonie/ Bucerius Kunst Forum)
Paper presented: The role of the media in the popular music scene in Israel.
2013 Jerusalem, Israel: "Cuba – Myth and Reality: Culture,History,Politics"
(Hebrew university of Jerusalem)
Paper presented: Music, identity, and social change in Cuba during the Special Period.
2013 Paris, France: "Body and Voice. Rethinking Politics through Musical and Choreographic
Practices" (Ethnomusika/ Cité de la Musique, Paris, France)
Paper presented: The liberation, sensualization and colonization of 'the Gay
Cuban dancing body.'
2013 London, UK: "Love and Sentimentalism in Popular Music – International symposium"
(Royal Holloway, University of London)
Paper presented: 'I am Bolero!': Queer appropriation and identification of gay men in
Cuba with Bolero music.
2014 Tel Aviv, Israel: “Entre-Mundos”: Encuentro regional LAJSA [Latin American Jewish
Studies Association] en Israel" (Tel Aviv University, Israel).
Paper presented: Illegal Latino labour migrants in Israel and the"Salsa factor": group
identity, self esteem, and social absorption via music.
2014 Limerick, Ireland: "In the Frame? Public and Political Discourses of Migration".
(University of Limerick, Ireland)
Paper presented: Salsa Music as a Unifying and “Legitimising” Discourse among
Undocumented Latino Labour Migrants In Israel.
2014 Pittsburgh, USA: SEM, Society for Ethnomusicology annual conference.
Paper presented: Music as a Space for Identity, Interaction, and Escapism, among Gay Men in Havana.
2015 Jerusalem, Israel: LAJSA, Regional conference.
Paper presented: Between Kleizmer and Salsa: Latino-Jewish musical collaborations in
2015 Jerusalem, Israel: "Rethinking Central America and the Caribbean in Israel:
Challenging Debates, Challenging Perspectives" (Truman Institute, the Hebrew
Paper presented: Ritual, Spirit Possession and Music, in Afro-Cuban Santería
2015 Paris, France: SFE/BFE (ethnomusicology societies) joint annual conference.
Paper presented: "Silsulim" (improvised 'curls') in the vocal performance of Israeli
"oriental" music: Crossing the nationalistic border, maintaining the cultural boundaries.
2015 Haifa, Israel: "Meeting Point" Seminar, Haifa University. Lecture given: "Music as
a means of communication and channeling in Africa and in the African Diaspora".
2015 Austin, Texas: SEM, Society for Ethnomusicology annual conference.
Paper presented: Music, Possession, and Homosexuality: Gay Men in Afro-Cuban
Santería Ritual Performance
2016 (forthcoming) Kent, UK: British Forum for Ethnomusicology annual conference.
Paper: Tourists, Music and Gay Identity in Special-Period Cuba
2016 (forthcoming) New York, USA: AJHS (American Jewish Historical Society) annual
conference. Paper: Jewish Divas as Gay Icons: Jewishness and Queerness in American
Culture as Represented by Barbra Streisand, Bette Midler, and Cuban Olga Guillot.
- Gypsy Music and its Influences on European Art and Popular Music (Open University - 2013)
- Intellectual Property and Rights in World Music (ACUM –Association of Authors, Composers
and Music Publishers- 2013).
- Brazilian music ("The Campus for Busy People" –Ono Academic College– 2013)
- African Music and Magic (Israel Museum, Jerusalem –2014)
- The Music of Africa ("The Campus for Busy People" –Ono Academic College – 2014)
- The Music of Cuba (Culture Weekends, Golden Crown Hotel Nazareth – 2015)
- Ritual and Spirit Possession in Afro-Cuban Santeria Religion (Haaretz Museum, Tel Aviv –
- A lecture/interview with Corey Harris about his work and about Ali Farka Toure (Diwan, Tel
Aviv – 2015)
Journal articles (academic & press):
2005: "Salsa & Falafel: Music & Identity among illegal Latino Immigrants in Israel",
in Polyvocia / SOAS Journal of Graduate Research, University of London Vol 1.
2007: "The Secret of Cuban Tobacco", in G magazine/Globes, Israel (in Hebrew)
2007: "Cuba Libre" (about gay life in Cuba), in Attitude magazine, UK
2008: "'Invertidos' in Afro-Cuban religion", in The Gay & Lesbian Review Worldwide, Harvard
2008: "The Voice of Peace from Baghdad" (about Iraqi musician Ilham Al Madfai), in Haaretz
magazine, Israel (in Hebrew)
2009: "Castro's pride" (an article and an interview with Dr Mariela Castro), in 7 days/Yediot
Aharonot, Israel (in Hebrew).
2015: “Queer Bolero: Bolero Music as an Emotional and Psychological Space for Gay Men
in Cuba”, in Psychology Research, Volume 5, Number 10, October 2015 (Serial
Latino Music and Dance as Means of Creating a Gay Space", in Ethnologie Française,
Period Cuba”, in MusiCultures, Canada.
2009: Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary Cultures. By Sujatha Fernandes (Duke University Press). In Estudios Interdisciplinarios de America Latina y el Caribe, Tel Aviv University
2011: Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan. By Marvin Sterling (Duke University Press). In Ethnic and Racial Studies, USA
2015: Listening in Detail to Cuban Music: Performances of Cuban Music. By Alexandra T. Vazquez (Duke University Press). In Estudios Interdisciplinarios de America Latina y el Caribe, Tel Aviv University
2016: (forthcoming) Performing Afro-Cuba: Image, Voice, Spectacle in the Making of Race and History. By Kristina Wirtz (University of Chicago Press). In Estudios Interdisciplinarios
de America Latina y el Caribe, Tel Aviv University
2016: (forthcoming) Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality. By Stephen Amico (University of Illinois Press). In The World of Music
Chapters in books:
2012: "Music of the Underdog: Sociological and Musical Similarities between Muzika Mizrahit
and Salsa", in Returning to Babel : Jewish Latin American experiences,
representations, and identity (Brill Press)
2016 "Queer Jewish Divas: Jewishness and Queerness in the Life and
Performance of Barbra Streisand, Bette Midler, and Olga Guillot", in Mazal Tov, Amigos!
Jews and Popular Music in the Americas (Brill Press)
2016 (forthcoming) "The 'Salsa Factor': Music as Identity among Undocumented Latino
Labour Migrants in Israel", in In the Frame? Discourses of Migration (Rowman and
2016 (forthcoming) "'Silsulim' (improvised 'curls') in the vocal performance of Israeli popular
music: identity, power and politics", in Sound Changes: Improvisation, Social Practice,
and Cultural Difference (Duke University Press).
2016 (forthcoming): "Understanding the Gay Ambiente in Cuba: Queer Fieldwork in a Queer
Field”, in Queering the Field: Sounding Out Ethnomusicology, Edited by Gregory Barz
and William Cheng. (Oxford University Press).
2015: Fiesta de Diez Pesos: Music and Gay Identity in Special Period Cuba. Ashgate, UK
(monograph) WINNER: HONORABLE MENTION, THE ALAM MERRIAM PRIZE 2015, SOCIETY OF ETHNOMUSICOLOGY.
2016 (forthcoming) Mazal Tov, Amigos! Jews and Popular Music in the Americas. Brill Press,
USA (an edited volume, co-edited with Dr. Amalia Ran)
PRIZE ANNOUNCEMENT - HONORABLE MENTION, THE ALAN MERRIAM PRIZE 2015, SOCIETY FOR ETHNOMUSICOLOGY:
An honorable mention for the Merriam prize goes to Moshe Morad’s book, Fiesta de diez pesos: Music and gay identity in Special Period Cuba. Fiesta de diez pesos is a brilliantly rich and vivid ethnography of (male) gay musical spaces and identities in Cuba, exploring underground or conveniently unnoticed worlds and the centrality of music and dance to their existence and operation. It spans an impressive range of contexts: the precarious yet irrepressible world of underground fiestas, dance parties held in changing secret locations; the national ballet, which Morad terms the ‘most obvious discreet gay space in Havana’; Santeria ritual performances, an indigenous arena that embraces space for gay and transgender performance and performers; and the ordinary domestic worlds of music and queer identification.
In all these contexts, Morad draws the reader into vibrant experiential accounts of the use of music and dance by gay men that open up interlocking meanings and functions of performance, performativity, gender and sexuality. Working in the period from the 1990s, the book explores the rapid economic, social and cultural changes in Cuba arising in response to the crisis following the loss of support from the Soviet Union. One such development is the opening up of the country to tourism, with the book growing from an initial visit by the author in 1994.
Fiesta de diez pesos is both a distinguished contribution to the ethnomusicological literature on sexuality, and an outstanding example of ethnographic fieldwork that is warm, human, engaged, unpretentiously reflexive, and strikingly perceptive. It is informative and compelling, and succeeds in analysing its subjects and their musical behaviour in close detail, but without ever othering them.