Contending with the structural erasure and appropriation of their land, culture, history, and traditions imposed by the settler state, Palestinians have adopted/adapted traditional cultural elements to further their nationalist aspirations and assert their rights as Palestine’s Indigenous people. In the diaspora, Palestinians practice and perform the dabke folkdance, as a tool of anti-colonial memory maintenance and knowledge transfer. In this context, the dabke has been (re)shaped to keep up with the invasive nature of settler colonialism, by evolving to protect indigeneity, resist imagined settler geographies, and represent an embodied landmark of Palestinian existence and history. In this paper, we examine the digital platforms of a diasporic dabke dance academy in Ontario, Canada, highlighting the innovations of using social media to broadcast the teachings and performance of dabke while promoting Palestinian cultural continuity against settler colonialism. We employ the theoretical framework of sumud, a specifically Palestinian mode of steadfast anti-colonial being/becoming to explain that the performance of dance, and the subsequent broadcasting via digital social media platforms is an innovative approach to counter settler colonialism. Cultural and community leaders such as dancers, teachers, and choreographers celebrate Palestinian resilience, resistance, and restoration, while mobilizing global solidarities through social media and dance.

中文翻译：

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土著舞蹈、文化连续性和抵抗：对散居国外的巴勒斯坦达布克人的网络志分析

面对定居者国家对他们的土地、文化、历史和传统的结构性抹除和侵占，巴勒斯坦人采用/改编了传统文化元素，以进一步实现他们的民族主义愿望，并维护他们作为巴勒斯坦原住民的权利。在散居海外的巴勒斯坦人练习和表演达布克民间舞蹈，作为反殖民记忆维护和知识传播的工具。在这种背景下，达布克已经被（重新）塑造，以跟上定居者殖民主义的侵略性，通过发展来保护原住民，抵制想象中的定居者地理，并代表巴勒斯坦存在和历史的具体里程碑。在本文中，我们研究了加拿大安大略省一所散居达布克舞蹈学院的数字平台，重点介绍了利用社交媒体传播达布克舞蹈的教学和表演，同时促进巴勒斯坦文化连续性反对定居者殖民主义的创新。我们采用 sumud（一种巴勒斯坦特有的坚定反殖民存在/成为模式）的理论框架来解释舞蹈表演以及随后通过数字社交媒体平台进行的广播是对抗定居者殖民主义的创新方法。舞蹈家、教师和编舞家等文化和社区领袖庆祝巴勒斯坦人的坚韧、抵抗和恢复，同时通过社交媒体和舞蹈动员全球团结。