Palestinians

===Music===
[[File:Kamanjeh, and performer on it, p. 578 in Thomson, 1859.jpg|thumb|left|upright=0.95|[[Kamanjah|Kamanjeh]] performer in Jerusalem, 1859<ref>William McClure Thomson, (1860): ''[https://books.google.com/books?id=S44XAAAAYAAJ The Land and the Book: Or, Biblical Illustrations Drawn from the Manners and Customs, the Scenes and Scenery, of the Holy Land] {{Webarchive|url=https://web.archive.org/web/20231129193623/https://books.google.com/books?id=S44XAAAAYAAJ |date=29 November 2023 }}'' Vol II, p. 578.</ref>]]
[[Palestinian music]] is well known throughout the Arab world.<ref name=Poche>{{cite web|title=Palestinian music|publisher=Grove Dictionary of Music and Musicians|author=Christian Poche|url=http://phonoarchive.org/grove/Entries/S47332.htm|access-date=10 March 2008}}{{dead link|date=August 2020|bot=medic}}{{cbignore|bot=medic}}</ref> After 1948, a new wave of performers emerged with distinctively Palestinian themes relating to dreams of statehood and burgeoning nationalist sentiments. In addition to ''[[zajal]]'' and ''[[ataaba]]'', traditional Palestinian songs include: ''Bein Al-dawai'', ''Al-Rozana'', ''Zarif&nbsp;– Al-Toul'', and ''Al-Maijana'', ''Dal'ona'', ''Sahja/Saamir'', ''Zaghareet''. Over three decades, the Palestinian National Music and Dance Troupe (El Funoun) and [[Mohsen Subhi]] have reinterpreted and rearranged traditional wedding songs such as ''Mish'al'' (1986), ''Marj Ibn 'Amer''(1989) and ''Zaghareed'' (1997).<ref>{{cite web|url=http://www.el-funoun.org/productions/zaghared.html |title=El-Funoun Palestinian Popular Dance Troupe |access-date=24 August 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090105201604/http://www.el-funoun.org/productions/zaghared.html |archive-date=5 January 2009 }}</ref> ''Ataaba'' is a form of folk singing that consists of four verses, following a specific form and meter. The distinguishing feature of ataaba is that the first three verses end with the same word meaning three different things, and the fourth verse serves as a conclusion. It is usually followed by a ''[[dalouna]]''.

[[Reem Kelani]] is one of the foremost researchers and performers in the present day of music with a specifically Palestinian narrative and heritage.<ref>{{cite web|url=http://www.globalrhythm.net/WorldMusicCDReviews/MiddleEastNorthAfrica/ReemKelani.cfm|title=Middle East & North Africa Reem Kelani World Music at Global Rhythm – The Destination for World Music|access-date=3 April 2014|archive-url=https://web.archive.org/web/20140311194619/http://www.globalrhythm.net/WorldMusicCDReviews/MiddleEastNorthAfrica/ReemKelani.cfm|archive-date=11 March 2014|url-status=dead}}</ref> Her 2006 debut solo album ''Sprinting Gazelle – Palestinian Songs from the Motherland and the Diaspora'' comprised Kelani's research and an arrangement of five traditional Palestinian songs, whilst the other five songs were her own musical settings of popular and resistance poetry by the likes of Mahmoud Darwish, [[Salma Khadra Jayyusi]], [[Rashid Hussein|Rashid Husain]] and Mahmoud Salim al-Hout.<ref>{{cite web|url=http://reemkelani.com/album.asp|title=Reem Kelani|url-status=dead|archive-url=https://web.archive.org/web/20131207110028/http://reemkelani.com/album.asp|archive-date=7 December 2013}}</ref> All the songs on the album relate to 'pre-1948 Palestine'.

====Palestinian hip hop====
{{main|Palestinian hip hop}}
[[Palestinian hip hop]] reportedly started in 1998 with [[Tamer Nafar]]'s group [[DAM (band)|DAM]].<ref>{{cite news|first=Dion |last=Nissenbaum |title='Palestinians' embracing hip-hop to push 'perspective of the victims' |date=29 September 2005 |url=http://www.jewishworldreview.com/0905/arab_hip-hop.php3 |work=Jewish World Review |access-date=25 April 2007 |archive-url=https://web.archive.org/web/20070816154001/http://jewishworldreview.com/0905/arab_hip-hop.php3 |archive-date=16 August 2007 }}</ref> These Palestinian youth forged the new Palestinian musical subgenre, which blends [[Arabic music|Arabic melodies]] and [[hip hop]] beats. Lyrics are often sung in [[Arabic]], [[Hebrew language|Hebrew]], English, and sometimes French. Since then, the new Palestinian musical subgenre has grown to include artists in the Palestinian territories, Israel, Great Britain, the United States and Canada.[[File:DJ Khaled 2012 (cropped).jpg|thumb|American radio personality and record producer [[DJ Khaled]], of Palestinian descent]]Borrowing from [[old school hip-hop|traditional rap music]] that first emerged in New York in the 1970s, "young Palestinian musicians have tailored the style to express their own grievances with the social and political climate in which they live and work." Palestinian hip hop works to challenge [[stereotype]]s and instigate dialogue about the [[Israeli–Palestinian conflict]].<ref>{{cite web |url=http://angelingo.usc.edu/issue03/politics/a_palhiphop.php |title=Palestinian Conflict Bounces to a New Beat |access-date=25 April 2007 |last=El-Sabawi |first=Taleed |year=2005 |work=Angelingo |archive-url=https://web.archive.org/web/20050418192423/http://angelingo.usc.edu/issue03/politics/a_palhiphop.php |archive-date=18 April 2005 |url-status=dead }}</ref> Palestinian hip-hop artists have been strongly influenced by the messages of American rappers. Tamar Nafar says, "When I heard Tupac sing 'It's a White Man's World' I decided to take hip hop seriously".<ref name=Maira>{{cite journal|last=Maira|first=Sunaina|title=We Ain't Missing: Palestinian Hip Hop – A Transnational Youth Movement|journal=CR: The New Centennial Review|year=2008|volume=8|issue=2|pages=161–192|doi=10.1353/ncr.0.0027|s2cid=144998198}}</ref> In addition to the influences from American hip hop, it also includes musical elements from Palestinian and Arabic music including "zajal, mawwal, and saj" which can be likened to Arabic spoken word, as well as including the percussiveness and lyricism of Arabic music.

Historically, music has served as an integral accompaniment to various social and religious rituals and ceremonies in Palestinian society (Al-Taee 47). Much of the Middle-Eastern and Arabic string instruments utilized in classical Palestinian music are sampled over Hip-hop beats in both Israeli and Palestinian hip-hop as part of a joint process of localization. Just as the percussiveness of the Hebrew language is emphasized in Israeli Hip-hop, Palestinian music has always revolved around the rhythmic specificity and smooth melodic tone of Arabic. "Musically speaking, Palestinian songs are usually pure melody performed monophonically with complex vocal ornamentations and strong percussive rhythm beats".<ref>{{cite journal |last1=Al-Taee |first1=Nasser |year=2002 |title=Voices of Peace and the Legacy of Reconciliation: Popular Music, Nationalism, and the Quest for Peace in the Middle East |journal=Popular Music |volume=21 |pages=41–61 |doi=10.1017/s0261143002002039|s2cid=56388670 }}</ref> The presence of a hand-drum in classical Palestinian music indicates a cultural esthetic conducive to the vocal, verbal and instrumental percussion which serve as the foundational elements of Hip-hop. This hip hop is joining a "longer tradition of revolutionary, underground, Arabic music and political songs that have supported Palestinian Resistance".<ref name=Maira/> This subgenre has served as a way to politicize the Palestinian issue through music.

====Dance====
The [[Dabke]], a Levantine Arab folk dance style whose local Palestinian versions were appropriated by Palestinian nationalism after [[Six-Day War|1967]], has, according to one scholar, possible roots that may go back to ancient [[Canaan]]ite fertility rites.<ref name=Canaan>{{cite book|last=Kaschl|first=Elke|title=Dance and Authenticity in Israel and Palestine: Performing the Nation|date=2003|publisher=BRILL|url=https://books.google.com/books?id=OfRAsefaeVEC&pg=PA82|pages=71–82|isbn=978-9004132382|access-date=29 November 2023|archive-date=29 November 2023|archive-url=https://web.archive.org/web/20231129193731/https://books.google.com/books?id=OfRAsefaeVEC&pg=PA82#v=onepage&q&f=false|url-status=live}}</ref> It is marked by synchronized jumping, stamping, and movement, similar to tap dancing. One version is performed by men, another by women.

<gallery>
File:Debka.jpg|Palestinian [[Dabke]] folk dance being performed by men
File:Betlehem woman dancing.jpg|Palestinian women dancing traditionally, [[Bethlehem]] c. 1936
</gallery>