Introduction: Premise and Purpose
Author: Katalina Peterson
This project, in general, addresses the complexity of culturalism when placed against the backdrop of political and social strife. More specifically, it is conscious of dance’s vital role in the creation of community and identity while bearing in mind the colonial force and historical marginalization of native groups that is at play. Narrower still, this project compiles evidence intended to present the argument made by numerous scholars that the Zionist motivated occupation of indigenous Palestinian territories is the impetus for the appropriation of native Palestinian dance (dabkeh) by Israelis. One cause generally agreed on by these scholars is the European-influenced Zionism movement, which rivals the Palestinian nationalist movement. This is because the creation of an Israeli culture and sense of history is a crucial part of the Zionist project. By contesting the existence of a native Palestinian state and turning the spotlight onto European or Jewish performers and their respective ideals, some might say Israel effectively robs Palestine of its cultural stake. As an example of modern day colonialism, this not only encroaches on culture, but reduces the native status of a whole group of people and denies them an origin. This appropriation of dance forms threatens Arab identities and contributes to their consequent false portrayals throughout the world. Pan-Arabism, geo-political divide, and racial conflict are all themes discussed throughout the project. This chapter is intended to serve the fields of dance studies, Middle Eastern studies, cultural anthropology, sociology, and studies of modern conflict, among others. Therefore, the information is presented in a straightforward manner that allows the reader to become familiar with all the annotated source materials, and what it offers in order to cultivate informed readership, but also in order to leave room for the reader to find inspiration to (hopefully!) pursue further research.