Leading artists of the last century in visual mediums include Nabil Anani, Kamal Boullata, Fathi Ghaben, Sliman Mansour, Ismail Shammout and the cartoonist Naji al-Ali, creator of the iconic Handala character.
For much of the 20th century, Palestinian art largely concerned itself with Palestinian nationalism and related themes like exile, the plight of refugees, and resistance. Artists often used common symbols and slogans to convey political messages. The Oslo Accords of the mid-1990s ushered in a new wave in Palestinian art, marked by more diverse and personal themes, the opening of new artistic venues and the emergence of an international market for Palestinian art. Outside of the galleries, the work of Palestinian artists who have embraced graffiti art and murals is a frequent site in many Palestinian cities.
Film
In recent decades, Palestinian film has taken off, with a number of directors and actors making waves with internationally acclaimed pictures, such as Amreeka, Lemon Tree, Speed Sisters, Stitching Palestine, Miral, 3000 Nights, Ave Maria, Omar, The Wanted 18, Wajib, Villa Touma and When I Saw You. Directors like Annemarie Jacir and Cherien Dabis, and leading Palestinian actors like Hiam Abbass and the Bakri family have helped to establish a reputation for Palestinian cinema.
Palestine also produces some local television shows. Palestinian dramas must compete with other shows popular across the region, especially during Ramadan. Palestinian television shows like Kafr al-Lawz, Bas ya Zalameh and Watan Ala Watar provide satirical takes on the tribulations of daily life in Palestine, offering comedic commentary on everything from social problems to electricity cuts.
Dance
Traditional dance is a staple of celebratory events in Palestine and anywhere where Palestinians reside. Some refugee camps have dance groups where youth practice dabke — the traditional Palestinian folk dance that is also popular in Syria, Lebanon and Jordan.
Dance adds a large dose of fun to any gathering. Guests are sure to break out into this line dance at joyous occasions like weddings and other parties, and some dancers even form troupes and compete against other dancing troupes. The dabke dance form includes synchronized stomps and movements along with opportunities for improvising.
Dabke gives refugee youth an outlet to express themselves and the chance to interact with their peers, while connecting them to their cultural heritage.
There are dozens of variations of dabke in the Levant, including al sahja (السحجة), a popular Palestinian and Jordanian dance which belongs mostly to northern and central Palestine, and, in southern Palestine, al samir (السامر) and al dahiyya (الدحية). These dances are often held on the night before a wedding party, with most of the men participating. Al samir involves two rows of men on opposite walls, competing with folk poetry, sometimes improvised, and even exchanging insults, competing in the cleverness of their retorts. Al dahiyya is a Bedouin spin on the genre, in which a woman dances between the two opposing rows of men, who compete for her attention.
Source: Anera
