topic three

Debka in diaspora

For many of the Palestinian youth and elderly that participate in debka at weddings, this form of dance provides a strong sense of belonging and community for participants and observers, especially for refugee communities (Van Anek, 2006). Communities and familial networks are strengthened by attendance at weddings and participation in celebratory events, debka being one of the most active of these. Significant social ties are made in the invitation and attendance of weddings, creating reciprocal relations between families. Participation in weddings is vital to the familial reputation and social duties of individuals .

Palestinian wedding in Jordan.

Creating a sense of identity through ritual celebration is highly valued among villagers, but for Palestinians in particular this identification has dual meaning in that it represents a historic and familial identification as well as a national identity. For refugees in particular this identification is juxtaposed with the dispossession of families from their land and the establishment inside of camps of local diasporic communities and the mixing of these communities, creating a diverse sense of belonging that is still unified under national identity (Van Anek, 2006).

Weddings and other celebratory events provide for a spontaneous eruption of dance where the fluidity of the form of debka continually takes prevalence under changes wrought by modernity.

These changes are most often found in the generational differences in the performance of debka. For older Palestinians, debka at weddings provides a space for traditional cultural practice and preservation, but for younger generations debka provides a space for competitive skill and changes to dance form (Stern, 2007), (Van Aken, 2006).

Wedding at Mash-had.

Debka troupe performs in the United States.

Debka at weddings or other celebratory events allows for shabob (male youth) a culturally specific space to perform and test their varied skill and new adaptation of steps and patterns as they become lawih for the dance line (Van Aken, 2006). The changes to debka from the more traditional step by older men to the highly stylized steps of youth are also associated with halal (virtuous/ culturally permissible) and haram (sinful/culturally taboo) cultural and religious associations.

Palestinian Wedding.

These designations are often associated with spectatorship, with mixed gender weddings sometimes being associated with haram dancing while traditional separated weddings provide for halal dancing. The presence of alcohol can also influence a designation of halal or haram. Although alcohol consumption is always discreet, youth at many weddings have begun to consume alcohol to enhance the experience of debka and the liveliness of the party (Van Anek, 2006).

Henna Tray for a Palestinian Wedding.

Ibdaa performance.

Another change to debka brought by modernity as well as diasporic communities has been the creation of Arab nightclubs in the United States (Rasmussen, 1992). With definite romantic and Orientalist appeal, these nightclubs offer a setting where Americans can be entertained by belly dancers and dance to both traditional tabla (handdrums) and Arabic and Farsi pop music. Although belly dance is often the most focused and advertised dance for these clubs, many play debka music as well.

Zaitoon Debka Troupe performs

Once debka music begins, men and women from all ages and multiple diasporic communities (Lebanese, Palestinian, Syrian, Iraqi, Jordanian, and Kurdish) all join together to form debka lines and dance. These dances are very similar to those performed at weddings, although usually with less skilled dancers, although often very skilled lawih can still be found in these clubs. (Rasmussen, 1992). Diasporic communities access cultural performance in this way in the United States, reinscribing a sense of identity and cultural place.