Palestinians

====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.