I was nurtured amidst three generations of Palestinian women: my mother, Eman; my twin sister, Yara; and my grandmother, Layla. We were all bound by an unbreakable connection to the same ancestral land in Jaffa. However, my upbringing in Jaffa, under the shadow of the Israeli regime, was anything but simple. It wove a complex tapestry of questions into the fabric of my life. These inquiries probed deep into my very essence, touching upon the core of my identity, my cultural heritage, and my sense of belonging.
Rather than seeking neat answers to these profound questions, I embarked on a journey of self-expression through the mediums of art and dance. Within these creative realms, I discovered my voice—a voice firmly rooted in the rich soil of my heritage and the intricate experiences that have shaped my life amidst ongoing oppression.
From my experiences, I can attest that my work is profoundly influenced by the political realities of my daily life. As a Yaffawi woman, I grapple with the necessity of exploring my Palestinian identity, often marginalized in my daily encounters. During my student years, I bore the weight of being the sole Arab in my dance class, wrestling with the pressure to conform and assimilate, a crucible that led me to question my sense of belonging. Living in Yaffa, I bear witness to the daily displacement of people from their homes, a stark reminder of the enduring challenges we face.
Growing up at the intersection of two worlds, two cultures, and two identities has compelled me to contemplate my very existence. I am on a personal journey to reclaim and reinterpret Palestinian Dabke through a contemporary lens, infusing it with my body, mind, and soul.
My artistic journey encompasses curating and serving as the artistic director of the "Moving Together" festival in both 2022 and 2023, a testament to my dedication to promoting local art and culture within the Arab community. I am captivating audiences with my works, “SeventyThree“(2021) "The Conquerors Corner Allenby Streert" (2021), "CHÉ" (2022), "72 Virgins" (2022) and ARABESQUA (2024).
In my seminar work, I delved into the appropriation of Palestinian Dabke by Israelis, who transformed it into "Debke." I recognized that occupation, ethnic cleansing, gentrification, and appropriation are all forms of colonization that impact not only the physical body but also the mind and culture. This realization has ignited a powerful and thought-provoking exploration within my artistic endeavors.
Hakovshim X Allenby
(The Conquerors Corner Allenby Street)
ĆHE
PC Inas Osrof
72 virgins
72 virgins was created by the support of OperaEstate residency in Bassano Del Grappa, Italy. (October, 2022)
Being a Palestinian Muslim woman in Israel is a constant struggle, shaped by Islamophobia, racism, occupation, militarism and patriarchy. Living amid war forces you to question the very essence of peace: What does it look like? How does it feel or smell? Peace, I believe, begins within each of us. To cultivate it, I must resist, reconnect with my roots and reclaim my identity. Growing up between two worlds, two cultures, and two nations is both disorienting and deeply conflicting, a balancing act that demands constant negotiation of self.
Nur channels these complexities through dabke, the traditional Palestinian folk dance, which she reimagines with a contemporary perspective—uniting mind, body, and soul. In her practice, she investigates the ties between her homeland and its energy, between protest and revolution. Her work is a celebration of Arab-Palestinian femininity, forging a new language of movement and voice that speaks to her identity and resistance.
Can I shout Allahu Akbar without it being tied to terrorism in your mind? Why doesn’t saying “God is great” evoke the same response? These questions challenge the biases and connotations that obscure the essence of these words—an assertion of faith, joy, and gratitude.
ARABESQUA
In the realm of ballet, the arabesque is a graceful body position where a dancer balances on one leg while extending the other behind the body, turned outwards. "Arabesqua" represents an exploration of the impact of Western culture on those of us from non-Western backgrounds. It involves the fusion of the traditional Palestinian dance form, dabke, with classical music—an unconventional union that disrupts and challenges established hierarchies and power dynamics.
the arabesque—a form of artistic embellishment characterized by intricate patterns of scrolling and interlacing foliage and tendrils, deeply rooted in the Islamic world.
Through "Arabesqua" I aim to cast a spotlight on Arab women dancers who are unapologetically celebrating their bodies, expressing their emotions, vocalizing their beliefs, and symbolizing the profound connection to our roots and tribal folk dance on this land. In doing so, I try to both challenge and mock the prevailing norms of the ethereal, slender ballet dance style, while simultaneously acknowledging it as a valuable Western technique that we were introduced to as young, aspiring dancers. This synthesis of dance languages seeks its own independence, forging a new identity and a sacred body language for all to embrace and celebrate.
Filming & Editing: Yasmeen Halabi & Fadi hamada