Xavier Guignard
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Recreation, re-creation, resistance
What roles for dabke in Palestine?
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From the refugee camps that stud Palestine to the new districts of Ramallah, the default capital of the Palestinian authority, clubs exist to teach dabke dancing to young people and spread it among them. At shows, the term used is ‘dance troupe’, but few of these have the means to project their fame and style beyond the local space. And even the best-known clubs are, in very large part, run by volunteers as charitable associations. It is these ‘troupes’ and their young dancers of both sexes that we shall examine here, mainly in the West Bank and Jerusalem. Given that, in other parts of the world, the younger generations are said to be indifferent to ‘tradition’, how are we to explain the success of dabke among young Palestinians? What does this dance represent for young adults of the 2010s and what meanings do they ascribe to it? To discuss this question, we have chosen to concern ourselves here with the dabke that is taught, choreographed and performed in shows, not with the more spontaneous form mainly danced at weddings.

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