Ali Qleibo, a Palestinian
anthropologist, has critiqued Muslim historiography for assigning the beginning of Palestinian cultural identity to the advent of Islam in the 7th century. In describing the effect of such historiography, he writes: That the peasant culture of the large
fellahin class showed features of cultures other than Islam was a conclusion arrived at by some Western scholars and explorers who mapped and surveyed Palestine during the latter half of the 19th century, and these ideas were to influence 20th-century debates on Palestinian identity by local and international ethnographers. The contributions of the 'nativist'
ethnographies produced by
Tawfiq Canaan and other Palestinian writers and published in
The Journal of the Palestine Oriental Society (1920–48) were driven by the concern that the "native culture of Palestine", and in particular peasant society, was being undermined by the forces of
modernity. Salim Tamari writes that: Palestinian culture is closely related to those of the nearby Levantine countries such as Lebanon, Syria, and Jordan, and the Arab World. Cultural contributions to the fields of
art,
literature,
music,
costume and
cuisine express the characteristics of the Palestinian experience and show signs of common origin despite the geographical separation between the
Palestinian territories, Israel and the diaspora.
Al-Quds Capital of Arab Culture is an initiative undertaken by
UNESCO under the
Cultural Capitals Program to promote Arab culture and encourage cooperation in the Arab region. The opening event was launched in March 2009.
Cuisine , 1877 painting Palestine's history of rule by many different empires is reflected in Palestinian cuisine, which has benefited from various cultural contributions and exchanges. Generally speaking, modern Syrian-Palestinian dishes have been influenced by the rule of three major Islamic groups: the Arabs, the
Persian-influenced Arabs and the
Turks. The Arabs who conquered Syria and Palestine had simple culinary traditions primarily based on the use of rice, lamb and yogurt, as well as dates. The already simple cuisine did not advance for centuries due to
Islam's strict rules of parsimony and restraint, until the rise of the
Abbasids, who established
Baghdad as their capital. Baghdad was historically located on Persian soil and henceforth, Persian culture was integrated into Arab culture during the 9th–11th centuries and spread throughout central areas of the empire.
Mezze describes an assortment of dishes laid out on the table for a meal that takes place over several hours, a characteristic common to
Mediterranean cultures. Some common mezze dishes are
hummus,
tabouleh,
baba ghanoush,
labaneh, and ''zate 'u
zaatar'', which is the pita bread dipping of olive oil and ground
thyme and
sesame seeds.
Entrées that are eaten throughout the Palestinian territories, include ''
waraq al-'inib – boiled grape leaves wrapped around cooked rice and ground lamb. Mahashi'' is an assortment of stuffed vegetables such as, zucchinis, potatoes, cabbage and in Gaza, chard. File:Mushakhan Dish.jpg|
Musakhan: The Palestinian National dish. File:Hummuswithpinenuts.jpg|A plate of
hummus, garnished with
paprika and
olive oil and
pine nuts File:Il Falafel di Ramallah.JPG|A Palestinian youth serving
Falafel in
Ramallah. File:Künefe.jpg|
Kanafeh: a Palestinian dessert.
Art Similar to the structure of Palestinian society, the Palestinian field of arts extends over four main geographic centers: the
West Bank and
Gaza Strip,
Israel, the
Palestinian diaspora in the
Arab world, and the Palestinian diaspora in
Europe, the
United States and elsewhere. ;Cinema Palestinian cinematography, relatively young compared to
Arab cinema overall, receives much European and Israeli support. Palestinian films are not exclusively produced in
Arabic; some are made in English, French or Hebrew. More than 800 films have been produced about Palestinians, the Israeli–Palestinian conflict, and other related topics. Examples include
Divine Intervention and
Paradise Now. File:Jaffa Alhambra Cinema03562ucroped.jpg|The Alhamra Cinema,
Jaffa, 1937,
bombed December 1947 File:Halhul, 1940.jpg|Villagers in
Halhul at an open-air cinema screening c. 1940 ;Handicrafts A wide variety of handicrafts, many of which have been produced in the area of Palestine for hundreds of years, continue to be produced today. Palestinian handicrafts include
embroidery and weaving,
pottery-making,
soap-making,
glass-making, and
olive-wood and
Mother of Pearl carvings, among others. ;Traditional costumes Foreign travelers to Palestine in the late 19th and early 20th centuries often commented on the rich variety of costumes among the area's inhabitants, and particularly among the
fellaheen or village women. Until the 1940s, a woman's economic status, whether married or single, and the town or area they were from could be deciphered by most Palestinian women by the type of cloth, colors, cut, and
embroidery motifs, or lack thereof, used for the robe-like dress or "thoub" in Arabic. New styles began to appear in the 1960s. For example, the "six-branched dress" named after the six wide bands of embroidery running down from the waist. These styles came from the refugee camps, particularly after 1967. Individual village styles were lost and replaced by an identifiable "Palestinian" style. The shawal, a style popular in the
West Bank and
Jordan before the
First Intifada, probably evolved from one of the many
welfare embroidery projects in the
refugee camps. It was a shorter and narrower fashion, with a western cut. File:Betlehem woman b.jpg|A woman from Bethlehem, c. 1940s. File:Ramallah woman2.jpg|Young woman of Ramallah wearing
dowry headdress, c. 1898–1914 File:Ramlah costumewo.jpg|Ramallah woman, c. 1920,
Library of Congress File:Arabic-traditional-Dress.jpg|A Traditional Women's Dress in Ramallah, c. 1920. File:Bethlehengirlsintraditionaldresspre1918.jpg|Girls in Bethlehem costume pre-1885.
Literature , Palestinian poet Palestinian literature forms part of the wider genre of
Arabic literature. Unlike its Arabic counterparts, Palestinian literature is defined by national affiliation rather than territorially. For example, Egyptian literature is the literature produced in Egypt. This too was the case for Palestinian literature up to the
1948 Arab-Israeli war, but following the
Palestinian Exodus of 1948 it has become "a literature written by Palestinians" regardless of their residential status. Contemporary Palestinian literature is often characterized by its heightened sense of
irony and the exploration of existential themes and issues of identity. Palestinian literature can be intensely political, as underlined by writers such as
Salma Khadra Jayyusi and novelist
Liana Badr, who have mentioned the need to give expression to the Palestinian "collective identity" and the "just case" of their struggle. There is also resistance to this school of thought, whereby Palestinian artists have "rebelled" against the demand that their art be "committed". and the establishment of the
State of Israel. Since 1967, most critics have theorized the existence of three "branches" of Palestinian literature, loosely divided by geographic location: 1) from inside Israel, 2) from the
occupied territories, 3) from among the
Palestinian diaspora throughout the
Middle East. Hannah Amit-Kochavi recognizes only two branches: that written by Palestinians from inside the State of Israel as distinct from that written outside (ibid., p. 11). After the 1948 Palestinian exodus and discrimination by neighboring Arab countries, poetry was transformed into a vehicle for political activism. is a Palestinian dramatist, writer and journalist. Palestinian folklore is the body of expressive culture, including tales,
music,
dance,
legends,
oral history,
proverbs, jokes, popular beliefs,
customs, and comprising the traditions (including oral traditions) of Palestinian culture. There was a folklorist revival among Palestinian intellectuals such as Nimr Sirhan, Musa Allush, Salim Mubayyid, and the Palestinian
Folklore Society during the 1970s. This group attempted to establish pre-Islamic (and pre-Hebraic) cultural roots for a re-constructed Palestinian national identity. The two putative roots in this patrimony are Canaanite and Jebusite. Formulaic elements of the stories share much in common with the wider Arab world, though the rhyming scheme is distinct. There are a cast of supernatural characters:
djinns who can cross the Seven Seas in an instant, giants, and ghouls with eyes of ember and teeth of brass. Stories invariably have a happy ending, and the storyteller will usually finish off with a rhyme like: "The bird has taken flight, God bless you tonight", or "Tutu, tutu, finished is my
haduttu (story)."
Palestinian music is well known throughout the Arab world. 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 – 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). 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. 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 Husain and Mahmoud Salim al-Hout. All the songs on the album relate to 'pre-1948 Palestine'.
Palestinian hip hop Palestinian hip hop reportedly started in 1998 with
Tamer Nafar's group
DAM. These Palestinian youth forged the new Palestinian musical subgenre, which blends
Arabic melodies and
hip hop beats. Lyrics are often sung in
Arabic,
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. is a Palestinian singer-songwriter and rapper Borrowing from
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
stereotypes and instigate dialogue about the
Israeli–Palestinian conflict. 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". 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". 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". It is marked by synchronized jumping, stamping, and movement, similar to tap dancing. One version is performed by men, another by women. File:Debka.jpg|Palestinian
Dabke folk dance being performed by men File:Betlehem woman dancing.jpg|Palestinian women dancing traditionally,
Bethlehem c. 1936
Sport Although sport facilities did exist before the
1948 Palestinian expulsion and flight, many such facilities and institutions were subsequently shut down. Today there remains sport centers such as in Gaza and Ramallah, but the difficulty of mobility and travel restrictions means most Palestinian are not able to compete internationally to their full potential. However, Palestinian sport authorities have indicated that Palestinians in the diaspora will be eligible to compete for Palestine once the diplomatic and security situation improves. File:"Machete Kills" red carpet - 10594982886.jpg|
Marko Zaror, Chilean martial artist of Palestinian descent. File:Nicolas Massu 2007 Australian Open R1.jpg|
Nicolás Massú, Chilean tennis player of Palestinian descent. File:Palestino - O'Higgins 20190405 13.jpg|
Roberto Bishara is a footballer of Palestinian descent. ==See also==