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Palestinian hip hop reportedly started in 1998 with Tamer Nafar's group DAM.[1] 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 Palestine, Israel, Great Britain, the United States and Canada.
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.[2] 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”.[3] 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”.[4] 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”.[3] This subgenre has served as a way to politicize the Palestinian issue through music.
- ^ Nissenbaum, Dion (September 29, 2005). "'Palestinians' embracing hip-hop to push 'perspective of the victims'". Jewish World Review. Archived from the original on August 16, 2007. Retrieved April 25, 2007.
{{cite news}}: CS1 maint: bot: original URL status unknown (link) - ^ El-Sabawi, Taleed (2005). "Palestinian Conflict Bounces to a New Beat". Angelingo. Archived from the original on April 18, 2005. Retrieved April 25, 2007.
- ^ a b Maira, Sunaina (2008). "We Ain't Missing: Palestinian Hip Hop - A Transnational Youth Movement". CR: The New Centennial Review. 8 (2): 161–192. doi:10.1353/ncr.0.0027. S2CID 144998198.
- ^ Al-Taee, Nasser. "Voices of Peace and the Legacy of Reconciliation: Popular Music, Nationalism, and the Quest for Peace in the Middle East." Popular Music 21 (2002): 41–61. JSTOR. EBSCO. Brandeis University, Waltham. Apr 1. 2008.