This article examines the musical repertoire broadcast on Israeli state radio stations on Remembrance Day. Commencing with the first Remembrance Day, Israeli radio stations have refrained from broadcasting songs that do not contribute to the glorification of the military mythology or failure to reinforce the consensual perception of national loss. In view of globalization – it might be assumed that Remembrance Day songs would undergo changes in tune with the times. From a musical point of view, new songs that belong to what Regev and Seroussi classify as ‘globalizing Israel’ penetrated into the nationalist arena. But, following Inglehart and Baker, these songs, despite their seemingly secular façade, remain limited hegemonic enclosures organized around the core of founding values. Apparently, this is an example of the process of glocalization of culture. The article seeks answers to the strategies employed to accommodate these new songs to the traditional ideology of the classical Remembrance Day songs and examines whether the mechanisms of legitimacy that enable the inclusion of new voices on Remembrance Day, can be identified. We argue that their choice is not arbitrary and that they illustrate the manner by which voluntary cultural entrepreneurs (musical editors) are co‐opted in the postnational condition.

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Amos Gitai's deconstruction of the Zionist historical narrative in his film Kedma (IL/FR, 2004) generates a narrative paralysis-by displacing events, disconnecting them from both their real referents and from their normal temporal sequence. This paralysis is tantamount to a post-traumatic rhetoric that marks the historical condition, one in which the movie was created as posttraumatic. This rhetoric can be read as subversive because it undermines the linear and teleological hegemonic narratives of both the film and the Zionist ideology that it recounts. The post-traumatic condition is, therefore, political. Thus, the film suggests alternative, if not redemptive, modes of employment that may work through the trauma and create a return to reality. Kedma belongs, in terms of its structure, to the road movie genre and, as such, is essentially based on movement. It follows the progress of Jewish Holocaust refugees from their European countries of origin, via the ship that brings them to shore, to the Land of Israel, to a military clash with the Arabs, and to Jerusalem. In the course of this voyage, the refugees, as film characters, are expected to participate in the cinematic plot that epitomizes the Zionist narrative: they must forget their erstwhile traumas, overcome the memories of the Diaspora, jettison the Jewish characteristics of their identity, fight the Arabs, and thus be transformed from passive Jews to warring Hebrews who

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