Tag Archives: sung poetry

The library of the Institut du Monde Arabe (Arab World Institute) in Paris is home to an extensive collection of writings on music from the Arab world, a region stretching from the Atlas Mountains to the Indian Ocean. This series of blog posts highlights selections from this collection, along with abstracts written by RILM staff members contained in RILM Abstracts of Music Literature, the comprehensive bibliography of writings about music. In 2023, the Institut du Monde Arabe hosted the exhibition “Ce Que la Palestine Apporte au Monde” and supplemented it with a resources page on the topic. The IMA library also held an on-site exhibition of its book, movie, and music collection covering Palestine. 

Early documentation of music in Palestine, especially before the 1948 Nakba, is scarce. The writings of figures such as the composer, ʽūd player, and chronicler Wāṣif Ǧawhariyyaẗ (1897–1973) provide a rare glimpse into the vibrant urban music scene under Ottoman rule and the British Mandate, and represent early attempts to document social and cultural life through personal narrative in the first half of the 20th century. The establishment of the Palestine Broadcasting Service by the British Mandate authority in 1936 marked the beginning of a new era, introducing a hybrid style of Arab music through Radio al-Quds’s iconic phrase hunā al-quds (this is Jerusalem) which became a sonic marker that endures to this day. However, the fate of the radio’s archives, including magnetic tapes and records, remains shrouded in mystery, with only some documents available at the National Library of Israel. After 1948, Palestinian folklore studies grew, reflecting the aspirations of the Palestinian liberation and nationalist movement. 

Publications on Palestinian music proliferated after the second Palestinian exodus of 1967, alongside significant developments in musical production and dissemination. Concerned with the impact of historical events and tragedies on the continuity of Palestinian sung poetry and musical genres, scholars, historians, and folklorists documented the lyrics of sung poetry and their broader social context. In the realm of performance, the El-Funoun Palestinian Popular Dance Troupe, founded in 1979 in Rāmallāh, became a leading organization showcasing the performance practice of Palestinian traditional song and dance internationally. Documentation efforts concurred with the emergence of a new wave of music making, characterized by a genre of socially engaged songs known as al-uġniyyaẗ al-multazimaẗ and the experimentation with new styles that incorporated non-Palestinian musical elements. Such were the repertoires of the Palestinian Sabreen band and other non-Palestinian Arab musicians who drew on broader pan-Arab sensibilities and musical styles to engage with and advocate for the Palestinian cause. During the Second Intifada (2000–05), local music education centers, such as Al Kamandjâti Association and the Palestinian Institute for Cultural Development (NAWA), served as hubs for fostering burgeoning musical talent in the West Bank and presenting Palestinian musicians on the world stage. The work and contribution of these two schools attracted the interest of many journalists and scholars. 

In recent years, Palestinian musicians have embraced new musical genres and used new media to produce, disseminate, and distribute new musical creations. Palestinian hip hop has emerged as a transnational genre, engaging Palestinian and Arab audiences locally and among their diasporas globally, reflecting the transnational dimension of the Palestinian struggle. New productions and arrangements of folk melodies and songs are circulating on new streaming platforms, attracting younger generations and drawing the attention of scholars from different disciplines and fields. 

The importance of written documentation and scholarly studies of Palestinian music, whether in Arabic, English, or French, that analyze the context and content of different genres and styles performed at the nexus of contested geographies, cannot be underestimated. Palestinian music and its historiography remain resilient, despite challenges such as neglect due to ongoing displacement, the erosion of traditional forms of expression, threats to historical records, and the risk of appropriation. The titles listed in this annotated bibliography feature Palestinian and non-Palestinian authors who document the rich heritage of Palestinian music and analyze current trends in Palestinian music making. 

– Written and compiled by Farah Zahra, Assistant Editor, RILM

Annotated bibliography 

ʽArnīṭaẗ, Yusrá Ğawhariyyaẗ. الفنون الشعبية في فلسطين (Popular arts in Palestine) (4th ed.; Rāmallāh: Dār al-Šurūq li-l-Našr wa-al-Tawzīʻ, 2013). [RILM Abstracts of Music Literature, 2013-54151; IMA catalogue reference]

The tangible and intangible forms of folklore, encompassing popular musical expressions, embroidery customs, and ceremonial practices associated with marriage and celebrations, serve as testimony to the enduring heritage and cultural continuity of the Palestinian people. The present effort to document select aspects of Palestinian folklore several purposes: first, to safeguard these manifestations of popular culture and ensure their continuity; second, to forge a robust connection between present and history; third, to uncover the creative dimensions inherent in Palestinian folklore; and ultimately, to inspire fellow researchers in music and the arts to undertake similar endeavors in documenting Palestinian folklore. Folk songs should be approached with the same urgency to study and preserve such as other Palestinian traditions. Popular songs’ characteristics are detailed, including the characteristics of colloquial dialects, the melodic content, maqam structure, ornaments, and more. Transcriptions of the melodies of 66 songs, along with their transcribed lyrics, are included from different cities. The songs are grouped by topic or occasion, as follows: children’s songs and lullabies; songs of religious holidays and celebrations; love and wedding songs; songs of war and encouragement; work songs; drinking, satirical, and political songs; dance songs; funeral chants and laments; and songs of stories and tales. Popular song represents the Palestinian peoples’ ways of life and social customs and is a spontaneous expression of collective feelings and aspirations. 

ʽAwaḍ, ʽAwaḍ Suʽūd. دراسات في الفولكلور الفلسطيني (Studies in Palestinian folklore) (Munaẓẓamaẗ al-Taḥrīr al-Filasṭīniyyaẗ, 1983). [RILM Abstracts of Music Literature, 1983-26665; IMA catalog reference]

Folklore is a cornerstone of the Palestinian national identity. Rooted in the region’s history and cultural diversity, Palestinian folklore includes songs, dances, handicrafts, costumes, games, popular idioms, myths, legends, and rites-of-passage traditions. Bedouin folklore is of particular interest, as Bedouins constitute a considerable demographic group within the Palestinian population. Selected song lyrics of northern Bedouin songs are transcribed, with commentary on their meanings and contexts provided. Bedouin dances are presented within their cultural context and social significance is explained.

al-Barġūṯī, ʿAbd al-Laṭīf. ديوان الدلعونا الفلسطيني (The book of Palestinian dalʻūnā) (2nd ed.; Rāmallāh: Dār al-Šurūq li-l-Našr wa-al-Tawzīʻ, 2013). [RILM Abstracts of Music Literature, 2013-54149; IMA catalogue reference]

The study of Palestinian sung poetry forms is essential to the preservation and continuity of the Palestinian folklore. This study is the result of four years of field and archival research spanning from 1986 to 1989. It documents 3000 verses of dalʻūnā, a form of sung poetry, which were collected through oral narration by numerous dalʻūnā narrators representing 144 towns and villages in the West Bank and Gaza. The content, which primarily concerns themes of love and adoration, is divided into nine distinct categories, each addressing various facets of love and other subjects such as advice, praise, pride, religion, and reconciliation. The primary love-themed dalʻūnā are subdivided into specific topics, each accompanied by selected dalʻūnā lyrics. These topics include: the glorification of dalʻūnā; patriotic love; depictions of life cycle events; romantic love, including both general and specific aspects of love and beauty; descriptions of physical attributes of the beloved and virtues of people; platonic love; marital relationships, including aspects of marriage, divorce, and related issues; and expressions of nostalgia, complaint, and lament. Finally, the meanings of select terms that appear in dalʻūnā are explained, along with the names of important dalʻūnā reciters.

al-Barġūṯī, ʿAbd al-Laṭīf. “الأغاني الشعبية المناضلة: فلسطين في أغانيها حتى بعيد نكبة 1948—دراسة ميدانية” (The popular songs of the Palestinian liberation struggle up to and including the 1948 Nakba: An ethnographic study), ʽᾹlam al-Fikr 18/2 (1987) 241–260. [RILM Abstracts of Music Literature, 1987-31249; IMA catalog reference]

Popular songs accompanied the Palestinian people during their resistance against the British Mandate, the events leading up to the 1948 Nakba, and in the decades that followed, and are an integral part of the broader Palestinian popular literature. The defining characteristics of these songs include their oral transmission, use of colloquial dialects, anonymous authorship, and intergenerational transmission. While the thematic range of popular literature expressed through songs is diverse, this study focuses specifically on lyrics pertaining to themes of patriotism and nationalist aspirations. Song texts are analyzed and categorized in relation to political events, including the 1929 Palestine riots, the British siege of Nāblus in 1936, the 1938 revolt, the 1948 Nakba, mass displacements, and the 1952 Egyptian Revolution. The brief contextual commentaries are supplemented with analysis of thematic content offering eulogies for martyrs, hopes for repatriation, feelings of nostalgia for the homeland, criticisms of Arab leaders, and aspirations for liberation. 

al-Bāš, Ḥasan. الأغنية الشعبية الفلسطينية (Palestinian popular songs) (2nd ed., rev. and enl.; Dimašq: Dār al-Ğalīl, 1987). [RILM Abstracts of Music Literature, 1987-31205; IMA catalogue reference]

The documentation of popular songs facilitates a connection to the historical roots of Palestine, serving to illustrate various expressions of everyday life. Popular songs serve as poignant expressions of the liberation aspirations of the Palestinian people, while also foregrounding the rich religious and ethnic diversity of Palestine. The analysis of popular songs is presented on the basis of both formal attributes and the social contexts in which they are performed, as follows: mawwāl, ʽatābā and mīğānā; šurūqiyyāẗ; taḥdāyaẗ or ḥadāʼ; songs of dabkaẗ and popular dances such as dalʻūnā, ğufraẗ, ya ẓarīf al-tūl, farʽāwiyyaẗ, and others; wedding and zaffaẗ songs and tarwīdaẗ; zağal and muwaššaḥ. In addition, these songs are further examined in relation to the social occasions during which they are traditionally sung, including rituals surrounding childbirth, circumcision, lullabies, religious celebrations honoring prophets and saints, engagements, weddings, and various forms of labor such as fishing, farming, and harvesting. After the 1948 Nakba, a notable thematic shift toward nostalgia emerged as a unifying motif across different song genres. A convergence in repertoire between Bedouin, rural, and urban song traditions is also noted. In addition, a commitment to poetic meter is maintained, indicative of the enduring significance of poetry. Finally, contemporary performance practice incorporates diverse song forms, both in terms of structure and thematic content, highlighting the dynamic nature of Palestinian musical expression over time.

El Zein, Rayya. “Resisting ‘resistance’: On political feeling in Arabic rap concerts”, Arab subcultures: Transformations in theory and practice, ed. by Layal Ftouni and Tarik Sabry. (London: I.B. Tauris, 2016) 83–112. [RILM Abstracts of Music Literature, 2016-56445; IMA catalogue reference]

Explores the ways in which young rap artists navigate the contradictions in the public spheres of everyday urban life. The discourse of resistance that permeates scholarship on rap and hip hop in the Arab world is critiqued and perceived as an expression of neoliberal power. In the context of the rap scenes in Bayrūt and Rāmallāh, political sentiments are expressed through objection, confrontation, and repetition—a set of processes that depend on collective action and solidarity rather than individual agency. Interactions, as such, should not be labeled as political but could be approached as subversive in their own terms. The conclusions are based on ethnographic studies conducted in Bayrūt and Rāmallāh, where interviews and conversations were conducted and exchanges between artists and audiences were observed.

al-H̱alīlī, ʽAlī. أغاني العمل والعمال في فلسطين (Work and labor songs in Palestine) (2nd ed.; Bayrūt: Dār Ibn H̱aldūn, 1980). [RILM Abstracts of Music Literature, 1980-21275; IMA catalogue reference]

Studying the songs of workers as a social class allows us to understand and appreciate their contribution to the broader spectrum of Palestinian folklore. Approaching the development of Palestinian folk songs through the lens of class struggle parallels the evolution of poetic forms and themes, moving from traditional forms to romanticism, realism, and socialist realism. These phases, manifested in both content and form, correlate with the broader class and nationalist struggles that have existed in Palestine since the late 19th century, culminating in the revolutionary movements of 1936–39 and the Nakba of 1948. Beginning in the 1950s, Palestinian folklorists began to adopt new methodologies and theories based on dialectical materialism to understand and analyze folklore and other cultural expressions. This approach facilitated the inclusion of peasant and urban cultural expressions, allowing for a nuanced exploration of class dynamics, societal transformations, and continuity. The study of select labor-related songs offers insights into various occupational domains, categorized as follows: agricultural labor songs, lyrical themes related to land cultivation, shepherding, forced displacement from agricultural lands, and migration to urban centers in search of employment; songs of construction workers; songs of fishermen and hunters; and songs of artisans, street vendors, drivers, barbers, and of similar occupations. It is important to recognize that certain professions have disappeared as a result of historical events, technological advancements, and changes in societal structures, thus affecting the repertoire of accompanying songs. Nevertheless, some work songs have been adopted and survived in other contexts, such as weddings and celebrations, where they are celebrated as emblematic expressions of Palestinian nationalism. 

Ḥassūnaẗ, H̱alīl Ismāʽīl. الفلكلور الفلسطيني: دلالات وملامح (Palestinian folklore: Symbolism and characteristics) (Rāmallāh: al-Muʼassasaẗ al-Filasṭīniyyaẗ li-l-Iršād al-Qawmī, 2003). [RILM Abstracts of Music Literature, 2003-51501; IMA catalogue reference]

Folk songs are a vibrant expression of Palestinian folklore, along with other expressions such as traditional folk storytelling, folk poetry, idiomatic expressions, games, and other cultural practices. The significance of folk songs lies in their pervasive presence across all aspects of Palestinian life. These songs serve as conduits for popular wisdom and narrative, evident in genres such as children’s songs, lullabies, work songs, lament songs, bukāʼiyyāt, and others. With their rich depictions of nature and the land, folk songs are a celebration of Palestinians’ deep connection to their homeland. To illustrate the uses and themes of folk songs, the full text of three popular poems, six ahāzīğ, 20 texts of mawwāl, 20 texts of ʽatābā, 16 texts of mīğanā, five texts of ğifrā, 15 texts of ẓarīf al-ṭūl, and dozens of verses of other poetic sung forms are included.

Ǧawhariyyaẗ, Wāṣif. القدس العثمانية في المذكرات الجوهرية: الكتاب الأول من مذكرات الموسيقي واصف جوهرية، 1904–1917 (Memoirs of the musician Wāṣif Ǧawhariyyaẗ, 1904–17. I: Ottoman Jerusalem in the Wāṣif Ǧawhariyyaẗ memoirs), ed. by Salim Tamari and Issam Nassar (2nd ed.; Bayrūt: Muʼassasaẗ al-Dirāsāt al-Filasṭīniyyaẗ/Institute for Palestine Studies, 2003). [RILM Abstracts of Music Literature, 2003-51500; IMA catalogue reference]

The memoirs of Wāṣif Ǧawhariyyaẗ are a remarkable treasure trove of writings on the life, culture, music, and history of Jerusalem. Spanning over four decades (from 1904 to 1948), they cover a period of enormous and turbulent change in Jerusalem; changes lived and remembered from the perspective of the street storyteller. An ʽūd player, music lover, and ethnographer, poet, collector, partygoer, satirist, civil servant, local historian, devoted son, husband, father, and person of faith, Wāṣif viewed the life of his city through multiple roles and lenses. The result is a vibrant, unpredictable, sprawling collection of anecdotes, observations, and yearnings as diverse as the city itself. 

Lama, Patrick. La musique populaire palestinienne (Palestinian traditional music) (Paris: Éditions du Témoignage Chrétien, 1982). [RILM Abstracts of Music Literature, 1982-3130; IMA catalogue reference]

Palestinian popular music is part of a broader Palestinian cultural heritage influenced by Arab-Islamic culture. To understand Palestinian popular music more fully, one must first analyze the Arab vocal aesthetics, musical modes, and the rhythmic systems from which it derives. Here, the homophonic and monodic structures of Palestinian popular music, the role of repetition, and rhythmic variations are analyzed. Brief definitions and excerpts from lyrics of syllabic chants are also covered. These chants include al-dalʻūnā, ẓarīf al-ṭūl, al-firʻāwiyyaẗ, al-ğafraẗ, al-sāmir, al-saḥğaẗ, al-ğawlaẗ, al-ʻiqīlī, al-qarrādī, w-ʻallā, al-mlālā, al-hiğīnī, al-ğaʻīdiyyaẗ, al-maṭlūʻ, al-šubāš, and other forms such as al-iskābaẗ, al-mʻannaẗ, al-tarwīdaẗ, al-mawwāl, al-ʻatābā, al-šurūqiyyāẗ, as well as other recited forms such as al-mhāhā, al-qaṣīdaẗ, al-mḥūrabaẗ. Transcriptions of repetitions in melodic phrases are included to better illustrate the role of repetition in Palestinian popular song and music.

Mérimée, Pierre and Jacques Denis. Intifada rap, trans. by Tara Dominguez and Sarah Bouasse (Paris: LO/A Edition, 2014). [RILM Abstracts of Music Literature, 2014-95113; IMA catalogue reference] 

Features photographs of Palestinian rappers, spoken word artists, and musicians, as well as the wider urban spaces in which the alternative and Palestinian music scenes thrive. The daily lives and activities of musicians are captured by the photographer. Some images are accompanied by brief written commentary, quotes, or lyrics by Palestinian poets and artists and Israeli activists. Hip hop artists featured include SAZ (Sameh Zakout), Boikutt (Jad Abbas), Shaana Streett, Mahmoud Jrere of DAM, and members of MWR, WE7, and G-Town. Other non-hip hop artists featured are Amal Murkus and Said Mourad, founder of the Sabreen Band. 

Shammout, Bashar. الإرث الفلسطيني المرئي والمسموع: نشأته وتشتته والحفاظ الرقمي عليه–دراسات أولية وتطلعات مستقبلية (The Palestinian audiovisual heritage: Origin, dissemination, and digital preservation–Preliminary studies and future prospects) (Bayrūt: Muʼassasaẗ al-Dirāsāt al-Filasṭīniyyaẗ/Institute for Palestine Studies, 2020). [RILM Abstracts of Music Literature, 2020-74761; IMA catalogue reference]

The study of Palestinian audiovisual heritage is central to the preservation efforts of institutions, collectives, and individuals in Palestine and among Palestinian communities abroad. The study and documentation of the history of film, photography, and sound recording technologies in Palestine, as well as an assessment of the current state of collections and archives, contribute to the preservation of the Palestinian collective memory. Such topics are approached from three angles: the historical background of key audiovisual materials and archives, the dispersion and fragmentation of collections across archival institutions and private collectors coupled with challenges related to access, and the application of best practices in digital archiving methodologies to assist archivists and researchers in their preservation and dissemination efforts. This study is among the first to examine the status of issues facing Palestinian audiovisual heritage, inspired by a perspective rooted in archival studies. 

Rooney, Caroline. “Activism and authenticity: Palestinian and related hip-hop in an international frame”, The Arab avant-garde: Music, politics, modernity, ed. by Thomas Burkhalter, Kay Dickinson and Benjamin J. Harbert (Middletown: Wesleyan University Press, 2013) 209–228. [RILM Abstracts of Music Literature, 2013-8742; IMA catalogue reference]

Palestinian hip hop draws on national and international cultural influences, protest poetry, and improvisational techniques. The genre is exemplified by the works of the Palestinian hip hop group DAM and its lead member Tamer Nafar as well as the works of the British rapper and activist Lowkey. The concept of “language pollution” is used to explain the lyrical and thematic content of selected lyrics by the two artists. Themes of class struggle and resistance to occupation are contextualized through the lens of hip hop aesthetic techniques, inspired by the utopian internationalism of liberation hip hop. While Palestinian hip hop can be analyzed as an avant-garde art form, its musicians subvert some avant-garde aesthetics through their lyricism, orality, and connections to both national and international communities.

Tolan, Sandy. Le pouvoir de la musique: Une enfance entre pierres et violon en Palestine, trans. by Jean-Philippe Rouillier, Catherine Boussard, and Bernard Devin (Paris: Riveneuve Éditions, 2019). [RILM Abstracts of Music Literature, 2019-74953; IMA catalogue reference]

The story of Ramzi Aburadwan, a refugee who grew up under military occupation and pursued his dream of becoming a musician. Ramzi’s deep love of music led him to collaborate with international musicians, culminating in his being recognized by Daniel Barenboim, who invited him to join the West-Eastern Divan Orchestra. In 2002, Ramzi founded the music school Al Kamandjâti in Rāmallāh, which quickly became a hub for music education and collaboration. The school attracted musicians from around the world who were eager to teach and learn with young students in the West Bank and beyond. The biography of Ramzi, along with the history, work, and impact of Al Kamandjâti, is detailed through Ramzi’s life, collaborations, and hundreds of interviews with his acquaintances from various countries. This narrative is interwoven with Palestine’s broader historical and political context since the 1980s.