Dabke is a group-based traditional dance ritual, originating from the Levant region (a territory bounded by the eastern sides of the Mediterranean Sea), particularly among Arab communities in Lebanon, Syria, Jordan, Iraq and Palestine. Dabke means ‘stamping of the feet,’ and is distinguished by the synchronised movements of a group in a line or circle, commonly accompanied by traditional music and lyrics. The Arabs of the Levant region perform Dabke with compassion and passion, which is profoundly ingrained in their cultural ethos.
Dabke is not merely an entertainment medium. It is a cultural expression and symbolises collective identity, social solidarity, and historical narratives, all of which the Levant Arabs highly value. The performers of this dance will put on the show on happy celebrations and festive occasions as well as at political and patriotic gatherings. However, the Palestinian version of Dabke is a potent medium for political criticism, emphasising storytelling and incorporating lyrics that mirror the Palestinian reality. The Dabke has transformed to protect and bind a national identity in resistance to colonial attempts at genocide and fragmentation of communities and has become a ceremonial call for indigenous liberation against settler colonialism mentions Adra, 2011.
The origins and cultural significance of Dabke
Dabke’s origin can be traced back to ancient agricultural practices in the Levant Arab, where communities stomped on the ground to compact soil for roof construction and harvest celebrations. This communal activity was the foundation for Dabke as a symbol of unity and shared heritage. Dabke was used as a form of cultural resistance under Israel’s military administration (1948-1966) and has deep historical importance, notably in Palestinian weddings and social gatherings.
Dabke’s spontaneous harmonic lyrics, music, and rhythmic dance demonstrate the community’s capacity to reject persecution and proclaim its power. The oud, tabla, and mijwiz are among the most commonly used instruments in Dabke. The vibrant, fast-paced sounds of these instruments inspire people to dance. People often do the Dabke as a protest at political and cultural events. It’s more than just a dance; it’s a sign of power and unity. It makes Palestinians who live outside of Palestine feel like they are part of a group and keeps them connected to their past, even though they are not in Palestine.
The shift in Dabke’s role: From celebration to resistance
At first, a community dance form, Dabke for Palestinians has turned into a very strong way to show their disobedience against Israeli rule and the loss of their culture. Its steady stomping is a form of protest that strengthens national identity and sumud (steadfastness). It has a long past of being linked to the land.
As quoted in an article on Scenenow, Dr. Hodel Ophir, a dance educator, researcher, and lecturer, stated in Rerooted and Reimagined: Dance, Palestinian Women, and the Reclamation of Urban Spaces: “Deepening roots to the land resonates with the Palestinian cultural notion of sumud (steadfastness–particularly in the context of holding onto or being tied to one’s land), a major theme in the ideology of Palestinian indigenousness and politics of resistance. In the realm of performance, this ideology is commonly expressed and embodied through Dabke, the folk dance that through its intricate steps, hops, and stomps (establishing accentuated contact with the ground) became a marker of Palestinian nationalism, a way of expressing identity and belonging, and a prominent source for contemporary choreography in the West Bank.”
Israel tried to erase Palestinian culture through stories, but dance groups like El Fanoun and cultural hubs for Palestinians living outside of Palestine, like Jabal Al-Zaitun (Argentina’s Dabke group) gave people a way to fight back through dance. At refugee camps, demonstrations, and on stages, individuals in other countries employ Dabke to express their solidarity with Palestinians. In controlled areas and among individuals who have departed the area, Dabke’s planned strides and stomps demonstrate a strong connection to the land.
Dabke as a political statement and symbolic power of defying oppression
Dabke has been a form of Palestinian resistance for a long time, evolving from a traditional performance to a political statement. It was performed in protest against Jewish immigration and Zionist expansion during the British Mandate. Dance became a means of cultural defiance after the Nakba in 1948, as choreographed Dabke performances recounted the stories of destroyed villages.
Again as cited in an article on Scenenow, David A. McDonald, a researcher and professor of Global Development Studies, stated in his book My Voice Is My Weapon: Music, Nationalism, and the Poetics of Palestinian Resistance: “In the face of Israeli encroachment and the erasure of Palestinian space, time, and presence, the preservation of indigenous practices such as the Dabke forcefully resists dispossession. Folklore is resistance. Detached from its precious soil, Palestinian identity, history, and nation must be kept alive, carried, preserved, and performed.”
As mentioned in an article on Shado-Mag, Shahd, a founding member of Hawiyya Dance Company—a London-based all-women Dabke collective—explained how Dabke helps raise awareness for the Palestinian cause: “After 1948 and the creation of Israel, which displaced two-thirds of the Palestinian people, Dabke started taking on a political meaning. The whole Palestinian heritage was under threat of extinction, so Dabke became an expression of resistance to show that our history is rooted in this land, that we belong to this land, that we love this land, and that we will never forget our rights to return to this land.” Dabke evolved into an overt political instrument that transcended class divisions in the aftermath of the 1967 War. The Palestinian political parties established Dabke troupes, which utilised performances at rallies and demonstrations to assert their national identity. Israeli authorities endeavoured to suppress this cultural expression by imposing travel restrictions and censorship; however, Dabke persisted.
El Fanoun, Palestine’s most distinguished Dabke troupe, was instrumental in the preservation and development of the performance. Established in 1979 as a non-partisan organisation, it evolved into a focal point for artistic resistance. Israeli forces imprisoned and tortured its performers during the First Intifada. Nevertheless, performances persisted, and some choreography was even developed within institutions. Through the Oslo Accords of 1993, Palestinian dance experienced an increase in institutional support and international collaboration. Today, Dabke continues to be a cultural tradition and a form of defiance, representing the aspiration for freedom and coexistence, as well as resilience and dignity.
Dabke, which was a mere traditional dance performed at festive events and festivals, has evolved into a living symbol of Palestinian identity, tenacity, and resistance. Dabke’s rhythmic dance moves and group energy of performers have expressed the struggle for self-determination while expressing stories of dispossession, and resilience to the world. Regardless of region, it is a powerful act of resistance against injustice and a tenacious affirmation of cultural survival.
About the author(s)
She is a Research Scholar, currently dedicated to pursuing her doctoral studies in the field of Political Science and International Relations. With more than ten years of hands-on experience across various media-related domains, she has established herself as a seasoned Media Professional.
